International Touring

Taking part in an international tour, whether you are an organiser or a receiving venue, can be exciting and rewarding. Apart from extending the life of an exhibition and giving it an international audience, an overseas tour may increase the profile and reputation of an organisation and its collection, and the extra income generated may allow a larger project to be realised. An international tour might also broaden the appeal of the exhibition to potential sponsors. However, an international tour can be complex, costly and require much more preparation; therefore, it is essential to have an infrastructure in place to support it. Early planning is the key, as is identifying the motivations and expected benefits from an international tour. This will enable an organiser to determine the most appropriate international production model and economic model (see the TEG publication Economics of Touring Exhibitions: Models for Practice for more information about production and economic models for UK touring, which can also be applied to international touring). It is also crucial to be methodical and keep comprehensive documentation of information, procedures and agreements. 

Nearly all of the national and major museums and galleries in the UK currently have international touring programmes. Institutions such as the British Museum, V&A, Tate, Natural History Museum, and Barbican Immersive Exhibitions have extensive and sophisticated international touring programmes. However, international touring is not exclusive to institutions in London. Regional museums and art galleries, such as Manchester Museum, Birmingham Museum and Art Gallery, Tullie, and National Museums Liverpool have toured exhibitions internationally, alongside developing the staff skills and capacity to deliver this work. 

The Working Internationally Regional Project (2014-17) produced resources relevant to touring internationally, including case studies, guidance articles, and presentation slides from training events. You can access these resources via the ICOM UK website. 

As with UK touring, an international tour may take the form of an organiser hiring out a packaged exhibition to venues in other countries. For the organiser, an overseas tour will mean a heavy administrative workload. For a venue, it may mean the opportunity to show an exhibition that it may not have the contacts, the time or the resources to produce. However, ‘buying-in’ from overseas is rarely a cheap option, not only because of increased transport and insurance costs, but also because of larger hire fees and more complex administration. The ‘packaged’ exhibition can also carry considerable financial risk for the organiser, despite having hire fees as income to set directly against exhibition expenditure. 

An international tour based on a collaborative model should give venues a greater sense of ownership because they are involved in its conception from the outset. A collaboration between venues also spreads the financial risk and administrative burden as costs and limited resources can be shared. Although costs are increased when working internationally, the budget and split of costs should be agreed between collaborators at the inception phase of the project. 

Collaborating venues should also agree at the start if one or more venues will take a lead on particular areas of planning and administration, such as loans negotiation, exhibition design, end of tour budget reconciliation etc. 

Somewhere between the organiser and collaborative models is the exchange of international exhibitions between two organisations. Employing this model, neither partner pays a fee for receiving an exhibition from the other, and an agreement needs to be reached as to how to fairly share costs when each exhibition may take place several years apart. This model can, contractually and administratively, be more complicated than anticipated, and both parties need to be clear from the outset about the expectations of the exchange and the responsibilities on each side. 

This model is usually proposed by venues who are not accustomed to paying a hire fee for a touring exhibition, or where two organisations have a broader agenda for collaboration. 

For organisations that may lack the resources to tour an exhibition overseas, working with an international exhibition organising company may provide an opportunity to generate income and raise the profile of an organisation and its collection. The majority of exhibition organising companies are based in mainland Europe, North America and Asia. Organisations with exhibitions and/ or collections can work with touring companies in a variety of ways. A common model is for the company to take on all administrative aspects of the tour, including venue finding, and provide a fee for borrowing objects for tour, either based on the loan period or a per venue basis. They may also cover object preparation costs such as conservation and packing but agreements vary from company to company, and lending organisations should bear in mind that loan fees received may be quickly swallowed up on staff and other preparation costs associated with lending a large number of objects. In order to achieve maximum impact and fee income, a company may tour an exhibition for several years and this should be kept in mind when considering which and how many objects to loan. 

International touring exhibitions can also support cultural diplomacy between partnering organisations and countries as a means to find points of commonality and difference, and to engage with others’ heritage and culture. Several national museums and galleries, often in collaboration or with support from the British Council, have toured exhibitions to challenging parts of the world. As no income is received for such exhibitions, it is vital that the organiser not only has the financial resources in place, but also staff capacity and expertise in the UK and overseas for project delivery. 

Developments in technology have led to new international touring models. The Science Museum Group (SMG) has developed Blueprint Packs, a touring model by which venues borrow the concept, design and research for a contemporary science exhibition and then source all physical elements of the exhibition locally, including objects. This enables venues to present a thoroughly researched exhibition without the international shipping and insurance costs. Venues can also tailor the exhibition to suit local audiences, their exhibition space, or to respond to new scientific discoveries.  

Even with ambitions to tour internationally, there may be circumstances under which an international tour is not feasible or appropriate. For example, if an organiser does not have the budget and infrastructure in place to find venues and organise an international tour, it may be wiser to wait until sufficient resources can be secured. Equally, a popular UK touring exhibition might not appeal to international audiences (or audiences in particular regions of the world) because the topic does not resonate locally, or there may have already been several international touring exhibitions on the same theme in recent years. It is key to make an assessment of the exhibition’s feasibility in connection with all these factors. The size and scale of an exhibition may also be important – some countries have very limited facilities for temporary exhibitions, whilst others need to fill spaces of more than 1,000 square metres. 

Every country has its own way of circulating exhibitions. Some only work on a collaborative basis, while others are serviced by sophisticated touring agencies which are government-run or by independent or semi-commercial agencies. As with UK touring exhibitions, it is important to undertake market research prior to developing an international touring exhibition. 

In the following sections the key practical considerations concerning any touring exhibition, are explored in an international context, to highlight some of the different and additional factors that need to be addressed when you are looking to take an exhibition outside the UK, or to borrow from an international organisation. 

When budget planning, an organiser should be realistic about the anticipated expenditure and income for an international touring exhibition. International hire fees are generally higher than UK hire fees, reflecting the additional time and resources spent and different systems of subsidy. An organiser should be realistic about what a venue is likely to pay to receive an exhibition. 

Expenditure is also higher, not least because of higher specification packing and international transport and travel costs. In addition to ensuring all anticipated costs are included in the budget, organisers should also allow for a larger contingency for unexpected costs, e.g. extra travel or unforeseen increases in travel costs, storage in the event of delays, fluctuating exchange rates, legal and translation costs. 

Whether an international tour is a collaboration or a package will determine the economic and production model adopted to spread the costs and financial risks between the organiser and venues or partners. 

A typical economic model for a three-venue international tour led by one organiser might be: 

• The organiser pays the preparation and assembly costs 

• Each venue pays an equal share of packing costs 

• Each venue pays inbound transport from the previous venue plus an equal share of dispersal costs (transport and insurance) from the final tour venue 

• Each venue pays all direct local costs, such as design and build (2D and 3D), couriers, insurance, storage etc. 

Where possible, all costs should be paid directly so that the financial burden and risk does not fall to the organiser or one venue. The cost share model and schedule of payments for either a package or a collaboration should be clearly outlined in the agreement between the venues or partners. 

Estimates from international transport agents will include not only the freight costs, but also Customs charges, local costs associated with collecting delivering the works from the point of arrival or departure, and any fees due to local subcontractors. 

Often there will be more than one currency in use, and the risk and cost implications of this should be addressed. Fluctuations in exchange rates between the countries involved in a tour may affect the cost of goods or services paid by the organiser or a venue, especially as international tours may take place over the course of a year or longer. 

Some overseas venues, depending on their governing structure, may only be able to pay costs in their local currency. Equally, an organiser may only have an account into which their own local currency can be received. Agreeing payment methods and currencies as soon as partners or venues are identified will save more time and effort than if an organiser waits until the first installment of the fee is due, or when costs are reconciled at the end of a tour. 

Although the UK financial year runs from April to March (according to the UK tax year) other countries operate different timetables and financial systems. For this reason, payment schedules and payment currencies should be agreed and included in the exhibition contract between venues and organisers or collaborators. 

For most showings outside Europe, VAT does not have to be charged on a hire fee. Within Europe it usually does, although a venue can claim this back if it is registered for VAT. 

The British Council published a report in 2016 on economic models and fees charged by UK organisers of international touring exhibitions. 

Download an example international touring expenditure and income plan 

See the Budgets and Financial Planning resource for more general information.

It is worth noting that copyright laws and restrictions vary greatly from country to country. In some parts of the world there is little regard for image or artistic copyright, and in others there are very stringent laws to be followed. Consult a copyright expert, peers, or a lawyer in case of difficulty. 

As with UK tours, an organiser may consider touring the exhibition build. International freight costs may mean that it is cheaper for international tour venues to build the exhibition at each venue, to the original or a new design, or sea freight may be the only cost effective transport method. If an exhibition is touring to several venues in one country or one region then sharing the design and build costs, especially for specialist showcases, may be worth considering if purchasing locally is an option. In some parts of the world it can be difficult and/or expensive to source preferred construction materials such as zero formaldehyde (ZF) MDF, so this issue should be considered when analysing the cost benefits of touring the exhibition build. 

As there may be more variety between the size, architecture and facilities of international tour venues, it may be necessary to redesign the exhibition for each venue. The organiser should be clear from the start of negotiations with venues if all or part of the original exhibition design should be replicated at each venue, and if there is any copyright or additional fees associated with this, or if venues have free rein to design the exhibition to suit their space. 

See the Design and Display resource for more general information.

The prestige of being involved in an international touring exhibition can be a major attraction to sponsors. However, it is important to be realistic about the sponsor’s demands and the likelihood that an overseas venue can meet these requirements, which it may not want to do unless it can see an obvious benefit. 

Tour collaborators should decide whether they all look for separate sponsorship in their own countries or whether one will coordinate it all and approach multinational companies. Different institutions may target different aspects of the exhibition, e.g. transport or catalogue. Whatever is agreed, it is important that there are no conflicts between sponsors. 

When considering sponsorship or support in kind for international travel and transport, venues and organisers should weigh up the monetary benefits of such support against reduced flexibility on transport routes, dates, and an increased chance that the exhibition freight is ‘bumped’ in favour of a paying client. 

At the time of writing, there are no known grants in the UK to specifically support international touring. It may be worth contacting the relevant international embassies and cultural organisations in the UK if you are seeking in-kind support or a contribution for receiving an international exhibition that is strongly linked to a particular country.  

See the Funding, Grants and Sponsorship resource for general information.

It is usual and practical for an organiser to provide a list of exhibits and the copy for text panels electronically. Such information must be supplied as soon as possible; not only may it need to be translated into one, or more, languages but it may also have to be adapted for the particular cultural context in which the exhibition is to be shown, and typeset according to the language. 

No organiser should expect a text to be translated literally, and venues must expect to devote time and expense to necessary contextualisation. 

However, the organiser should approve the proofs, in order to check credits and acknowledgements. It is also worth budgeting for a professional translator who has proven experience of translating texts specific to the subject matter of the exhibition.

See the Interpretation resource for general information.

For international touring exhibitions comprised of international loans, arranging insurance can be time consuming and costly. As indemnity can be provided in many European, North American and Australasian countries, it is well worth considering this as the first option and requesting a copy of the terms and conditions as early as possible. As with the UK Government Indemnity Scheme, many countries have specific timetables for applying for and approving indemnity and some will impose an upper limit on the cover available. In cases where lenders do not accept indemnity then commercial insurance can be arranged in either the organiser’s or venue’s country. 

Organisers should also check at the start of loan negotiations if lenders require immunity from seizure cover. This cover is not available in every country, and the law and process varies from country to country. Where cover is available, there is often a long lead in time to arrange cover and detailed provenance information needs to be provided about each object. If the venue is a national museum, gallery or library, they are likely to be familiar with the law and process for applying for cover. 

See the Insurance resource for general information.

This stage may take much longer than borrowing for a national tour, if the lender has to obtain information from, or even arrange a visit to overseas venues with which they are not already familiar. Lenders will decide whether there are any restrictions (e.g. number and types of venues, countries, display restrictions, etc.). 

As securing venues for an international tour can take some time, organisers can occasionally find themselves in a catch-22 situation – an international venue can’t or won’t confirm participation until the exhibition object list is finalised, and lenders won’t confirm loans until venues are secured. Loan fees for international tours are more common, either on a per venue basis or as a fee for a fixed period of loan. Some lenders may also wish to have loan agreements with each venue, rather than the organiser. 

If the exhibition comprises loans from UK national collections then the National Security Advisor based at Arts Council England will need to approve the tour venues. Sufficient time should be allowed for this process, and organisers should be satisfied with the level of security at the venue, and have worked through any issues and made a site visit if necessary, before sending the information to the national security advisor. In some cases, especially for new venues who have not previously borrowed from UK national collections, a site visit by the national security advisor may be required and this will need to be budgeted for by the organiser and/or venue. 

See the Loans resource for general information.

As with UK tours, venues may wish to adapt existing marketing and communication materials, or design their own, to appeal to local audiences. Although organisers should expect to sign off on materials, they might also bear in mind that venues may work to much tighter deadlines or may not expect an organiser to have any sign off rights. Turnaround times and authority on sign-off should be detailed in the contract between the organiser and the venue. 

In some countries, government funded venues may not have permission to include third party or sponsors’ logos on all materials, or they may not have permission to reproduce the organiser’s logo at the desired size. 

See the Marketing and Communication resource for general information.

Organisers should bear in mind that importing and exporting AV equipment can be difficult and costly in some parts of the world because Customs officials may decide the equipment has a commercial value and could be sold on in the country into which it arrives. Meticulous paperwork will be required under such circumstances, down to each individual cable, including technical specifications, images, values etc., and the packing should exactly match the paperwork provided to Customs. Local transport agents will be able to advise on the paperwork required in such circumstances, and organisers should ensure AV equipment is not packed with any objects or sensitive material in case crates are held up at customs on arrival or departure. Additional time for transport between venues should also be allowed for in case of Customs delays.  It can be beneficial for the organisor to ensure there is a specialist AV staff member who can advise international venues on what equipment can be substituted from their own country to ensure the smooth running of the exhibition, avoiding transporting AV equipment at all.

See the Media and AV resource for general information.

When you are preparing, carefully cross-check calculations when converting metric and imperial measurements for objects and exhibition displays. Where possible, acrylic sheet (Plexiglas) should be used in place of glass, as it is lighter and safer. As with UK tours, frames and object mounts should be designed to last the duration of a multi-venue tour. 

In countries where labour is cheaper, venues may use manual handling methods more than an organiser is used to, i.e. many people may be used to move packed crates or heavy objects rather than a forklift or other handling equipment. In such circumstances, the courier should agree all handling methods onsite before the movement of crates or objects takes place. 

For overseas travel, higher specification crates are often required. The type of packing and crate specification will depend on the type of objects, the method of transportation between venues, the number of tour venues and duration of the tour, and whether any periods of storage are required. 

Where possible, pack objects requiring CITES permits together and separately from other objects, in case of any Customs delays on arrival or departure. For further information about import and export documentation and requirements, see the ‘Import and export rules’ section in the Transportation resource. 

See the Objects resource for general information.

When preparing condition reports and packing notes, try to use clear images rather than lengthy text to describe the condition of an object or instructions for packing an object. This will reduce the chance of misunderstandings if the reports and notes are used by non-native speakers. As with UK touring, bear in mind that the level of detail for condition reporting may vary between venues.  Many Institutions now use digital Condition Reports, and Object Lists.  It is helpful to have a specific meeting ahead of installations about reports with a touring venue to ensure the core team understand the system and how reports should be used and signed off.  Particularly when Institutions don’t send their own couriers for installations or deinstalls. 

Sales of a catalogue produced for an international readership can be substantial, and income from such publications can help offset exhibition costs. 

Production of the catalogue and other printed material will depend on the requirements of each venue and their budgets. Text will often have to be translated and it should be decided whether to publish one bilingual or multilingual edition or separate language editions. If the catalogue is printed in another country, shipping copies to the venues can add significantly to its cost price.

See the Publishing resource for general information.

Broadly speaking, more time needs to be scheduled for an international tour, from securing venues and project management to transferring between international venues. An overseas venue may have to go through an organisational process or bureaucratic structure (e.g. it may need to seek the approval of its Ministry of Culture) in order to confirm its participation in a tour. 

All meetings between the partners in a collaboration will need to be scheduled much further in advance than for a collaboration within the UK. Agendas should be well prepared, since meetings will entail greater travel and expense. To be efficient and minimise costs, collaborators can make use of current technology to share documents online and make international calls and teleconferences. 

Project schedules and deadlines should be agreed between collaborating venues, or the organiser and venues, at the start of the project as preparation and planning time for exhibitions can vary greatly – an organiser is unlikely to have capacity to provide a high level of service to two venues simultaneously when one venue is receiving the exhibition before another. 

See the Project Management resource for general information.

See information in Security resource.  

Practices differ from country to country and depend on the experience and services offered by individual shipping agents. Transport agents in more remote parts of the world may have limited knowledge or experience of UK Customs & Excise regulations and also of handling fine art or museum objects. Established UK agents can often provide advice on overseas agents they have previously worked with. Equally, a non-specialist agent in the UK may have limited knowledge of the correct handling, transport and Customs procedures for cultural objects. 

The type of transportation required will be dictated by the lenders’ requirements and the type, value and condition of the objects. Building up a relationship with a reliable agent is of utmost importance and can save much time and work. They can also investigate storage, should it not be possible to store the exhibition or its packing at the venues. 

Many exhibitions that travel overseas will be accompanied by a courier from the organiser and one or more representing different lenders. The cost of a courier is usually additional to the hire fee, and the venue is normally required to cover flights, accommodation and subsistence, charged at a daily rate. Courier subsistence rates vary between countries. The UK Government’s document of worldwide subsistence rates can act as a guide or starting point for agreeing subsistence rates for couriers. 

If several couriers are required, costs may become prohibitive, but this can be minimised if lenders are willing to share couriers, i.e. loans from several institutions might be supervised by a courier from just one institution. Lenders might also agree to only send a courier for the installation at the first venue and the de-installation at the last venue if they are satisfied the organiser will provide their own experienced courier for each installation and de-installation. 

In a country where English is not the first language, it is advisable to have a translator close at hand who can relay instructions. Depending on the complexity of the work, using Google Translate on a phone may also be a useful tool. 

Since the Covid-19 pandemic, many Institutions have revised their courier policies and make decisions about whether to send a courier on a case-by-case basis, this decision is also guided by a museum’s sustainability policy relating to international travel.  Virtual couriering is an option which is becoming more popular and widespread. 

Road, air and sea freight transport can all be used for international tours, depending on the type of objects in the exhibition and the location of the tour venues: 

Air Freight:  Only transport agents and airlines registered with the IATA (International Air Transport Association) are recommended and objects should be adequately packed and crated to withstand palletisation for air freight and potentially bumpy airplane landings. The entire process, from collection from the organiser or previous venue to the next venue, should be managed by the transport agent and supervised by the agent and courier to the extent that is feasible. Not all airlines allow airside access for couriers to supervise palletisation and loading and not all cargo airlines allow couriers onboard. Such lender requirements should be flagged to the agent well in advance. 

Sea Freight: For exhibitions containing very large and heavy objects, sea freight might be the only viable option. As refrigerated containers can only control temperature and not humidity levels, not all objects are suitable for sea freight and advice should be sought from conservation staff in consultation with an experienced fine art transport agent. Sea freight journeys take time (up to six weeks from the UK to Australia) and routes are subject to seasonal and last minute changes. Contingency should be included in the budget and tour schedule to allow for unforeseen delays. 

Road Transport: Road transport is usually cheaper than air freight for transporting exhibitions within Europe and its neighbouring countries, but also takes time. For example, the journey from London to Finland can take up to one week and involve several ferry trips as well as long driving distances. Advice should be sought from a transport agent when deciding the route for longer journeys as secure overnight stopping points will need to be arranged and road conditions, especially in winter, might increase the risks to objects and couriers. 

For more detailed information about international transport options, see the Transportation resource. 

Practices differ from country to country and depend on the experience and services offered by individual shipping agents. Shippers in more remote parts of the world may have limited knowledge or experience of UK Customs & Excise regulations and also limited experience of handling fine art or museum objects. Established UK agents can often provide advice on overseas agents they have previously worked with. 

Equally a non-specialist agent in the UK may have limited knowledge of the correct handling, transport and customs procedures for cultural objects. 

The type of transportation required will be dictated by the lenders’ requirements and the type, value and condition of the exhibits. It may be possible to commission a specialist transport company to act as agent and as carrier. Building up a relationship with a reliable carrier is of utmost importance and can save much time and work. They will usually work directly with the agent on your behalf. They can also investigate storage, should it not be possible to store the exhibition or its packing at the venues.

See the Agents for Technical Services resource for general information.

Terms used in contracts and agreements should be straightforward to avoid the misunderstandings that may occur through language differences; remember that brand names for materials and technical or specialist terminology may not be easily understood. Where necessary, formal agreements (such as contracts) should be translated into the appropriate language. Information should be laid out so that it is easy to see what is required of all parties involved in the exhibition tour.  The summaries and actions from telephone conversations should always be confirmed in writing. 

When working with international venues or partners, it is important to determine the governing law for contracts, particularly if the exhibition includes objects from national collections. It is recommended that contracts drawn up by UK organisers for exhibitions including objects from 

UK collections are governed by the laws of England and Wales, Northern Ireland, or Scotland (as appropriate). Seek advice from a lawyer if necessary. 

As part of the Working Internationally Regional Project (WIRP), ICOM UK and the British Council published a template international touring exhibitions agreement as a PDF with guidelines.  

See the Contracts and Agreements resource for general information.

Although specialist, the international touring market is a mature one and increasingly competitive. 

Established touring exhibition providers have invested time and money over a number of years into developing their networks and travelling internationally to visit potential venues, meet contacts and attend international conferences. 

Organisations just starting to tour internationally may find it challenging to break into the market. The internet is a useful starting point for identifying potential venues or collaborators overseas. International museums and galleries who organise touring exhibitions feature information on their websites, as do touring exhibition organisations overseas. 

It is imperative that sufficient time is given to finding international tour venues, whether for a packaged exhibition and especially for a collaboration. Having fixed dates for the exhibition tour makes it easier to get agreements from lenders and funders. 

The most productive method of contacting venues is by directly contacting a potential venue or partner with a letter signed by the organiser’s director (via email or post). If possible, translate the letter into the language of the recipient. If there is interest, the organiser should then send a standard pack of information, again translated into the language of the recipient if possible. Unsolicited proposals are rarely returned from overseas venues, so establish firm interest before sending a printed pack, or send the information electronically as a PDF. 

Negotiations may be more complex as overseas institutions may have different cultural emphases (e.g. a non-Western view of the history of art) or different exhibition policies (e.g. a wish to include or exclude certain artists for political reasons). The integrity of an exhibition can also be affected if there are exhibits that lenders will not allow overseas. 

When negotiating with international venues and partners, compromises may be required to reach agreements and to accommodate varied cultural viewpoints and working methods. 

The importance of networking and face-to-face meetings is very important. 

The following organisations and conferences are sources of useful information and provide networking opportunities: 

ICOM Exhibitions (formerly ICOM ICEE) is the ICOM International Committee established as a forum for the exchange of ideas, experience and information about temporary and touring exhibitions in all disciplines. They host an annual international conference, including a Marketplace of Exhibitions, which is a platform where participants are invited to present their current touring exhibitions and to share ideas about how to involve new museums and new partners in international exhibition exchanges. 

Vitra Design Museum organizes the international MUSCON Conference in collaboration with annually changing local hosts. The aim of the conference is to promote the exchange of touring exhibitions between European, American and Asian museums. MUSCON focuses on institutions in design and architecture but is also open to museums in fine art, cultural history, science and other disciplines. 

Ecsite (European Collaborative for Science, Industry and Technology Exhibitions) is a network of science centres and museums. Their annual conference, the largest of its kind in Europe, brings together international organisations interested in public engagement with science and is a key event for any organisation touring science exhibitions. 

CIMAM (International Committee for Museums and Collections of Modern Art) has a mission to foster a global network of museums and museum professionals in the field of modern and contemporary art and provide a forum for communication, cooperation, information exchange, and debate on issues of common interest among museums, non-profit collections, and artists, and museum professionals interested in modern and contemporary art. They host an annual international conference. 

Teo (Touring Exhibitions Organisation) is a global resource for the international touring exhibitions community. Created for hosts, producers, promoters and specialist providers of international touring exhibitions, Teo is a resource to share, connect and foster new collaborations in the world of travelling exhibitions.  They host Teo Live, an annual online event.  

TEM (The Experience Economy Meeting) is an annual event for professionals in the museum, exhibition and experience sector. Key stakeholders in the experience economy can meet in person, discuss opportunities, and collaboratively push the boundaries of what can be achieved. 

Culture Connect publishes an online calendar of upcoming webinars, events, symposia, and conferences on arts and museum management, cultural diplomacy, digital innovation and placemaking organised by dedicated teams and organisations across the world. 

Author: Dana Andrew (2017) and updated by Diana McAndrews (2025)