Help for the librarian. Make a unique offer at the exhibition
As you know, products are divided into tangible (goods) and intangible (services). Let's start with recommendations for presenting tangible products at the exhibition stand.
|
(photo 1) |
Visually demonstrate the properties of your products (photo 1). You can talk for a long time about the fact that the fragile-looking stand has exceptional strength and is able to withstand heavy loads, but it is enough to put a two-pound weight on it and let the client see it with his own eyes, and everything becomes clear without further ado. Think about how to present the features and benefits of your products in the most simple and compelling way possible. Demonstrating the equipment in action, showing the production process of the product are effective ways to attract attention and make an impact on visitors. You can enhance the effect by attracting visitors to the process of manufacturing products. Note. When demonstrating operating equipment, safety requirements must be strictly observed. |
Engage visitors in your product. Direct contact with the product has a significant impact on customers, allows them to feel it better, form their own attitude towards it, and therefore bring the decision to purchase closer.
Try to present samples of your products in such a way that visitors have free access to them, they can personally test them, check the technical specifications, and evaluate the quality.
Show what your product is made of. People are always curious to know what's inside (photo 2). If possible, show your product in a section. Let the client see what is usually hidden from view.
|
(photo 2) |
(photo 3) |
(photo 4) |
The quality of raw materials suggests the quality of the product. Research shows that we tend to think in association. If you put a birch log next to a piece of furniture (photo 3) or put a bottle of vodka on live wheat (photo 4), customers will assume that the product is made from natural materials. Consider this feature of perception.
|
(photo 5) |
Do not oversaturate the booth with exhibits(photo 5). Obviously, the exhibitors who stuff the booth with product samples to capacity want to show that they have everything. In exhibition conditions, such a presentation of goods can go sideways. At the exhibition, visitors get tired of the abundance very quickly. Overloaded with information and impressions, the visitor's brain may refuse to spend the rest of the energy on sorting through the mass of chaotically presented product samples. |
Before making a purchase decision, the customer needs to choose what suits their needs. Thus, the main task of the stand is not just to present the widest possible range, but facilitate choice.
|
(photo 6) |
That is why at exhibitions it is increasingly possible to meet the presentation of goods on the principle of less is more. (photo 6), i.e. less is better. The attention of visitors is focused Present products systematically. A heap of diverse exhibits can create an impression of uncertainty among visitors, it will be difficult for them to understand on what basis your stand is organized. Products can be grouped by brands, by scope, by price, quality and other characteristics. On the front line of the stand, you can present products that are more likely to attract the attention of visitors - bestsellers, special offers, exclusive products. |
The easiest way is if the main task of your participation in the exhibition is to present the novelty. In this case, it becomes the central exhibit, and the other assortment is presented as an addition.
|
(photo 7) |
Manage the perception of your product. It is important to understand how the way a product is presented affects the perception of its price and quality. It is known that a product presented separately is perceived as higher quality and most likely expensive. The mass presentation of the product conveys to visitors the idea of its affordable price and, perhaps, not the highest quality. (photo 7). A moderate number of samples (3-5 pieces) of one heading in the showcase shows the balance of price and quality. Decide which way of presenting the product is best for you. The main thing is to make a choice consciously. |
|
(photo 8) |
Sign product samples.Sometimes even a specialist finds it difficult to determine by appearance alone what are the main differences and advantages of a product (photo 8). If all the staff at your booth are busy, a sign describing the technical characteristics next to the exhibit can keep the visitor busy until one of you is free. Moreover, some visitors find it more comfortable to study the contents of the accompanying plate than to ask a stand attendant a question. The importance of text accompaniment is also due to the fact that when the brain gets the opportunity to create two mental representations of the subject: verbal and visual, it provides better perception and memorability. |
In seminars, I am often asked the question:“How to present a wide range of products in a limited area?”. First of all, you need to determine which products will be of most interest to your target audience. Choose the most popular positions that bring you the main profit. Organize the exposition so that the attention of visitors is focused on them.
|
(photo 9) |
Reduce the number of copies of each type of product. Use vertical placement of goods on the stand (photo 9). Combine the physical presentation of the product and graphics. For example, next to a product sample might be a photo of your showroom with the caption Secondary product groups can be presented in catalogs: “Full range of products in the new catalog. Take your copy! |
|
(photo 10) |
Regarding the presentation in a limited area of large equipment (photo 10), you can use photopanels* showing the equipment in full size; broadcast on a projection screen or plasma panel presentation videos demonstrating equipment in operation, production processes, installation, etc.; prepare printing products with photographs, detailed descriptions and technical characteristics of the equipment; create a miniature layout of the equipment. *Please note that large-sized photographs with a spatial plot visually expand the boundaries of the stand. |
Large equipment and machinery are often presented in an open area. In this case, it is necessary to take into account the possible influence of weather factors (rain, snow, wind, cold, heat, etc.). Provide your company employees and visitors with the necessary conditions for negotiating and viewing the exhibits.
As you know, many important things are forgotten because they seem obvious. Here are some more simple but important tips.
Your products must look perfect. We think by association - it looks good, it means it works well. The first, as you know, "buy" the eyes. Dust, chips, scratches, even hand marks should not spoil the impression of your products.
|
(photo 11) |
Don't skimp on window displays. If the showcase looks unpresentable, a negative impression will be projected onto the goods presented in it. Use showcases worthy of your product. Do not clutter up the windows with foreign objects(photo 11), which do not add attractiveness to your product, but only distract the attention of visitors from it. Present working samples of goods at the exhibition. If something is wrong with the sample presented at the stand, the client will most likely consider that the rest are no better. Exhortations that in fact the product you have is excellent, and this is just an unfortunate misunderstanding, will not help. The customer has already received a negative perception of your product. It will be extremely difficult to convince him. |
Arrange the goods so that it is convenient to inspect them.Exhibits should be visible to the main flow of visitors, their review should not be blocked by stand attendants. Products that are expected to attract increased attention must be placed so that people standing near them do not interfere with the work of the stand staff and the movement of other visitors.
|
(photo 12) |
Place product samples at a height convenient for viewing - someone has insufficiently sharp eyesight, it is inconvenient for someone to bend over. Make sure that visitors do not have difficulty inspecting your products. In order to draw the attention of visitors to small-sized products and increase their memorability, you can use designs that repeat the shape of the product or packaging in an enlarged form. (photo 12). |
|
(photo 13) |
Non-standard presentation of the product. While visiting the EuroShop exhibition in Düsseldorf, I went to the pavilion where companies representing the same type of goods were assembled. They were mannequins. Thousands of mannequins. Arranged and seated on the stands, they impassively looked into the distance. All of them, as you understand, had the same face, so that soon my eyes were filled with chirps. I was about to move to another hall, when I suddenly saw a booth that looked different from the rest (photo 13). Instead of countless mannequins, there are only three figures, instead of static - dynamics, instead of melancholy - a positive emotional background. I don’t think that these mannequins somehow differed significantly in price and quality, Think about how presenting your product can help you stand out from the competition. |
Now let's consider features of the presentation of intangible products at the exhibition. As you know, an intangible product is inseparable from the source, i.e. companies and people who make it. Therefore, when providing information, consulting, educational and other services, the characteristics of the supplier and the quality of his employees are of particular importance.
When designing a stand, pay special attention to corporate identity elements - corporate colors, writing your company name, logo, as well as a description of your business profile, your product and the benefits that customers will receive.
Show what distinguishes you from your competitors, what is the value of your offers, how your services can be used to solve problems and develop the business of customers, how thanks to you they can save time and resources, reduce costs, earn money. Give a compelling answer to why visitors should choose you and your product.
"Materialize" your product. Use attributes that will make your product more tangible for the client - photos of completed projects, videos showing how you work and why you can be trusted, collections of publications about your company in print and on the Internet, certificates of compliance with quality standards, certificates of specialized government agencies or industry associations, letters of thanks, awards, diplomas, etc.
Note. As a rule, large photographs or large graphics attract attention and are remembered better than several small ones.
|
(photo 14) |
Use customer reviews(photo 14) who use your products or partners who trust you. Positive characteristics of a company or product expressed by third parties are perceived less biased and inspire more credibility. Keep in mind that visitors pay more attention to things that, when presenting a material product, can fade into the background - the design of the stand, the quality of printing, the company's employees. The less tangible the product, the higher the role of the one who sells it. Appearance, demeanor, competence and other characteristics of the staff are projected onto your product. By these signs, customers try to understand whether they can trust you, and draw conclusions about the quality of your product. |
Getting ready for an exhibition? Take care of the most important!
The key to success is in the hands of your staff!
Order a training
for your company's employees.
“The exhibition is the same artistic product as the exhibits that are exhibited at it,” believes , who has 12 years of experience in the Kremlin Museum, as well as the organization of major international exhibitions, in particular, the already legendary Moscow-Berlin (1995) and The Great Utopia: Russian Avant-Garde 1915-1932 (1992). As part of a lecture for students of the RMA faculty, Zelfira Ismailovna spoke about how, ideally, the process of organizing an exhibition project should take place.
About exhibitions yesterday and today
“Exhibition work is one of the most spectacular and attractive trends in contemporary artistic life. An exhibition is always a spectacle. Today, when the demands of the public are constantly growing, the general standards of exhibition projects are gradually declining. This is happening, in the first place, because museums and galleries are facing problems that they could not even think of 20 years ago. People need to be actively attracted to exhibitions, which results in populism in the approach to presenting the material and negligence in execution - exhibitions very quickly replace one another and are prepared in a very short time. Now their main competitor is the Internet, which has spoiled people with a large stream of high-quality images, practically erasing the difference between the original work and the picture on the screen in their eyes.
Today's viewer, coming to the exhibition, first of all wants to experience a vivid impression and read a certain message. Therefore, if earlier it was enough to collect rare and unknown material and it worked, now the exhibition should begin with a bright and original idea, which will be read in the selection of exhibits, their location, catalog, etc.”
About where to start
“The curators come up with exhibitions. In the West, this position is one of the most honorable. The curator there is a king and a god. But if we talk about Russian museums, then the role of curators is often underestimated, and people in whose hands administrative resources are concentrated come to the fore. Of course, now the situation is changing, but if we talk about what happened 20 years ago, when I first got a long-term internship in the USA, the difference was striking. In our museums, a curator is a research worker, loaded with a lot of custodial and administrative work to such an extent that he has practically no time left for creativity. In America and Europe, the one who comes up with an exhibition and the one who makes it are always different people. And this difference is clearly seen by the administration of the museum, which knows that how interesting and new the idea of the exhibition will be proposed by the curator will depend on what opinion will be formed about the museum as a whole.
The idea of the curator should be embodied in the text, which will spell out a clear concept of the exhibition. With this concept, the curator goes to the museum management, which makes the final decision. If the project is approved, then in addition to the concept, a colorful presentation is created, proving that the exhibition will be significant and loud, with which the museum goes to the sponsor.
Almost all museum exhibitions are sponsored. In the US, in addition to publicity, sponsors receive large tax breaks, which is a significant incentive for them. There is no law on patronage in Russia, so sponsors should be treated with special attention here. They must be loved and, most importantly, appreciated the contribution they make to the development of the museum. It is important not to forget to place their banners, invite them to the opening, give the opportunity to write a welcome word to the catalog, etc. And if you follow all these rules, then this gives its results: sponsors begin to get really interested in the projects of the museum.”
About the main items of the exhibition budget
“Once the concept is formulated, it is important to present the preliminary budget of the project. It usually includes several main items of expenditure.
Firstly, it is the transportation and insurance of works of art, the requirements for which have increased significantly in recent years, especially when it comes to bringing exhibits from abroad. Any serious lapse in this area makes further work with Western colleagues difficult. As for insurance, this is a separate big conversation. There are many nuances and limitations when working with domestic insurance companies, many of which themselves undertake to insure no more than 5 million conventional units, and everything else is reinsured by reliable reinsurers abroad. Unfortunately, in our country there is no concept of "state guarantee" that replaces insurance, which significantly limits our capabilities. The patronage of the state allows foreign museums to collect exhibits under one roof with a total insurance value of several billion conventional units.
Secondly, this is the creation of exhibition design and installation. Today, people are sometimes more interested in not what they will see, but how it will be presented to them. And in order for new technologies and intrusive design solutions not to infringe on the exhibits themselves, but, on the contrary, to reveal the essence of this exposition, a talented and competent exhibition architect is needed. In Russia, such people who can think spatially and at the same time not clog the idea of the curator and the exhibits themselves can be counted on the fingers. Fortunately, today museums already understand that the exhibition itself is a work of art, so they are increasingly inviting foreign designers and architects.”
How to organize everything
“The most intensive work begins when the composition of the exhibition is determined and there is a preliminary estimate. In the West, there is a profession of "exhibition project coordinator/registrar". This person, having received a list of exhibits from the curator, should draw up an appeal to the participants of the exhibition based on the text-concept, where its relevance and significance will be justified. This is an incredibly important point, as museums and private collections need to be persuaded to send you the items you need. In Russia, this, like everything else, is handled by the curator.
After confirmation of all the exhibits, painstaking work on the catalog begins. One of its important components are requests for the right to reproduce exhibits. Very often, the rights to reproduce works do not belong to the museums or galleries themselves, but to international associations or museum authorities (as, for example, in France). The use of these images in catalogs is monitored very closely, especially when it comes to living artists, or those. no more than 70 years have passed since their death.
Translation is important. A careless translation of the author's texts can greatly spoil the impression of the exhibition project as a whole. In Soviet times, there was an excellent school of translators that produced specialists who could adequately state the essence of the text in Russian and not be mistaken in terms. Today, there are very few people who can write about art and translate at the same time. Therefore, I personally prefer to involve highly professional translators who are fluent in Russian or to involve art critics who are fluent in foreign languages.
It is very important that the catalog has an interesting design and high quality printing - it will be nice to give it to sponsors or sell it on the shelves of a museum store.”
The most important part of the exhibition work is the preparation of all contractual documentation. Employees need to issue packages of documents for the issuance of exhibits from museums. At the same time, the conditions are dictated by the party that provides you with works of art. In addition, you should have on hand reports on the state of the building - fire extinguishing systems, security, as well as a state guarantee for the timely return of exhibits. About 20 years ago, this document was ignored. But after many Western museums had to part with the works, in respect of which claims were made by the heirs of their former owners, from whom they were confiscated under Hitler, they began to treat him with due attention.
About relations with the media
“Exhibitions are the most important area of the museum's activity, which creates its public reputation and keeps it in the focus of media attention. I learned how to work with journalists during my internship at the Guggenheim Museum in the 1990s. They did not find a job and they put me in the office of the deputy director for exhibition work. During some important meeting in connection with the opening of one of the exhibitions, when a thousand issues had to be resolved at the same time, he received a call and was told that a journalist from the New York Times had come. So he dropped everything and took the journalist around the exhibition for two hours. Because the reputation of the exhibition will depend on what and in which publication they write about you. And in order for the press to write about you correctly, journalists must understand that they are working with them and they are given due attention., this is really something that should not be spared.
Answers to questions from RMA listeners:
Zelfira Ismailovna, and yet: the curator should, first of all, create meanings, or think about where to get money for the project?
Personally, I belong to the number of those people who are engaged in both the first and the second. Of course, in the ideal model, these should be different people: the curator creates meanings, and the registrar deals with contracts and all administrative work. But the person who goes to the sponsors should take with him a curator who will be better than others to substantiate and prove the significance of his idea. But, at the same time, it is always good when you know how the whole process is going on, which provides a number of advantages.
Should museums pay back sponsorship money?
No, exhibitions are always a losing story. In addition, the sponsor is not expected to return their investments. Almost no museum in Russia makes money from exhibition projects. In the West, this is possible if there is a museum shop, where certain products are ordered for each exhibition. Usually such goods diverge with a bang.
Why is the system of creating museum shops not developed in Russia?
Largely due to the inertia of the mechanisms of our museum, where most of the employees are not creative people, but the administrative apparatus. For example, we have a law that prohibits spending more than 400,000 per quarter on purchases of anything other than a tender, which makes it almost impossible to order a quality product that the museum needs. In addition, museums cannot sublease their premises. And on top of that, in our country it is very difficult to order the production of something for relatively little money, and if you set up production abroad, then a lot of money will be spent on delivery and customs duties.
GBOU SPO College of Services Sphere No. 32
Independent work on history No. 5:
Topic: "Russia in the 19th century"
I've done the work
group student
Gunashov Marat
Checked by the teacher
By history
Asamova Irina Alekseevna
Moscow 2013
1. Museum address………………………………………………… 3
2. Name of the museum and its location……………….. 4
2.1.History of the creation of the museum…………………………………. 5-6
2.2. Brief description of the museum exposition…………………… 7
2.3. Description of the exhibits you liked………………… 8-12
2.4.Impression of visiting the museum………………………… 13
Museum address.
State Historical Museum (GIM)
Address: 109012, Moscow, Red Square, 1.
Metro stations Revolution Square, Teatralnaya or Okhotny Ryad.
The name of the museum and its location.
The State Historical Museum (GIM) is located at the address: 109012, Moscow, Red Square, 1
Directions: metro station Okhotny Ryad, metro station Revolution Square, metro station Teatralnaya.
The history of the creation of the museum.
Founded by decree of Emperor Alexander II on February 21, 1872. in a building specially built by the architect Sherwood. The basis of the exposition was the exhibits of the Polytechnic Exhibition of the same year. Members of the imperial family also donated their collections of secular and religious art to the museum.
Moscow City Duma in April 1874. allocated land for the construction of the museum on Red Square, where the building of the Zemstvo order, the first pharmacy in Russia, a Chinese restaurant and Moscow University were previously located. According to the results of the competition for the design of the museum building, the project of V.O. Sherwood and A.A. Semenov won. Construction continued during 1875-1881. The building was made in the Russian style, like a fairy-tale tower with tents and turrets.
The original project was supposed to embody the architectural image of Russia. For this purpose, fragments of many famous buildings of Russia of the 16th-17th centuries were used in the design.
October 27, 1917 near the building of the Historical Museum there was a clash between revolutionary Dvina soldiers (former prisoners of the Dvina prison, where they were imprisoned for speaking out against the war and the provisional government) and the Kremlin junkers. The square resounded with volleys, and many of the dead remained lying here. A plaque on the walls of the museum is dedicated to them.
After the October Revolution, the museum became known as the State Russian Historical Museum. The new authorities organized a special commission to reorganize the museum, and as a result, there was a threat of seizure of part of the collections.
In 1922 the Museum of the Noble Life of the 40s was attached to the State Historical Museum, as well as closed churches and other buildings: “Museum-Cathedral of St. Basil the Blessed”, “Museum of the former. Georgian Church”, “Museum of Architectural Monuments of the Village of Kolomenskoye”, “Museum of the Pafnutev-Borovsky Monastery”, “Genoese Fortress” in the town of Sudak in Crimea, “Museum of the Alexander Monastery”, Chambers of the Romanov Boyars, “Novodevichy Convent”.
Since 1928 the work of the State Historical Museum was aimed at communist propaganda. And in 1936-1937, in connection with the opening of a new exposition dedicated to the 20th anniversary of the October Revolution, many paintings and interior details of the halls were destroyed. In 1935 double-headed eagles and heraldic figures of lions and unicorns disappeared from the towers of the building.
In 1986 The State Historical Museum was closed for major repairs. The goal was to return the building to its historical appearance, and it appeared exactly in the form in which it was designed in the late 19th and early 20th centuries. The final appearance of the State Historical Museum was restored in December 2003, when lions and unicorns returned to the towers of the building (double-headed eagles were returned in 1997).
Brief description of the museum exposition.
Hall 18.
This hall was dedicated to the reign of Ivan the Terrible, which is why it has such a solemn and majestic appearance. The central part of the hall is occupied by a copy of the so-called "Royal Place" of Ivan the Terrible, made in 1551 for the Assumption Cathedral in the Moscow Kremlin, where it is located to this day. The “Royal Place” played the role of a symbol of the autocratic power of Russian sovereigns. In the documents of the XVI-XVII centuries. it is even called the "throne", i.e. throne. On its door leaves is placed the text of the legend, which tells how in the XII century. Grand Duke of Kyiv Vladimir Monomakh received state regalia as a gift from the Byzantine emperor Constantine Monomakh, among which was the famous Monomakh's hat. Three walls of the "Royal Place" are decorated with 12 narrative reliefs illustrating this story. The "Royal Place" is crowned by a double-headed eagle. This symbol of grand ducal power, adopted in the 15th century. Ivan III, was placed on princely things, coins, state seals. Over time, the double-headed eagle began to be perceived as the coat of arms of the Russian state.
EXHIBITION IN THE LIBRARY. GLOSSARY
Dear colleagues!
"The exhibition is a public, cultural, scientific
an event for readers and at the same time a professional holiday
librarians, so it is a unique, extraordinary, one-time phenomenon"
O. P. Zykov
I bring to your attention interesting material on exhibitions, which may be useful in your work. It is presented in the form of a glossary. What is a glossary?
The word "glossary" comes from the Latin phrase "glossarium", which means a collection of gloss, and the word "gloss" itself is translated as "an incomprehensible or foreign word." In the modern language, the glossary has an almost identical meaning, namely: a dictionary of specialized terms with an interpretation, with comments and examples dedicated to a particular field of knowledge. Sometimes such dictionaries are equipped with a translation of terms into another language.
The methods of creating and compiling glossaries are called lexicography and belong to the linguistic discipline. The very first glossary, which is known to history today, refers to the 25th century BC. and is represented by religious and literary texts of the late Sumerian period. Until the middle of the fifteenth century (the era when printing was invented) lists of foreign and little-known words were compiled by well-educated people, usually monks. Such words were most often found in writings and manuscripts written in Latin and Greek. As soon as the scribe or the scientist working with the text determined the meaning of an unknown word, he wrote an explanation for it either between the lines or in the margins. There are many examples of glossaries. For example, in England, a glossary was created for the works of Homer. In India, a glossary was written for the Vedas, and in the Middle Ages for the writings of Papias and Isidore.
The proposed glossary is dedicated to the exhibition in the library.
Library exhibition is an information product created for a specific group of users and presented in a special demonstration form.
The main form of visual representation of literature is a set of specially selected and systematized printed works offered to readers for review and familiarization with them.
Public demonstration of book collections, contributing to the most complete disclosure of the contents of these funds.
Exhibition-vernissage (mini-gallery) - an exposition involving the demonstration of paintings, reproductions, applied arts, children's drawings, etc. Includes materials about authors, trends and types of art. It is designed taking into account the color of the era to which the exhibition is dedicated.
Exhibition-quiz is an unconventional exhibition based on a block of books that can be used to answer quiz questions. Information with questions is placed at the exhibition itself, handed out on leaflets.
Exhibition virtual is a new form of exhibition and a way of exchanging information in the virtual space of the library, created in accordance with the general rules for preparing expositions using telecommunication and computer technologies.
Exhibition "question-answer" - a kind of exhibition-dialogue, a kind of correspondence fulfillment of specific requests from readers, with further design of the exhibition with relevant literature and a bibliographic list on the topic.
Exhibition-herbarium - a kind of exhibitions of a new generation, implies the presence of the herbarium itself and various publications about the plants presented. For example: "Medicinal plants", "Between the pages of your favorite books."
Exhibition-dialogue- an unconventional exhibition based on questions from young users, asked on various topics in writing and dropped into a special box. Specialists unite questions on certain thematic blocks, from which sections of the exhibition are formed and whose names will be questions from readers.
Exhibition-dispute (-discussion, -polemic) – an interactive exhibition, a way of reflecting relevant printed materials expressing different points of view on controversial issues. Visitors are invited to express their opinion, including in the format of a discussion following the results of the exhibition.
Exhibition-dossier is an interactive exhibition of a new generation, a kind of personal exhibition endowed with new properties and created with the active participation of readers. Most often, this is the reader's autobiography (“Literary dossier of the reader”, “From the reader's form”), reflected in the exposition in books read, quotations, reviews, answers to questionnaire questions, tips and recommendations. It is advisable to organize a meeting with the author at the exhibition, with his story about the books he has read and the opportunity to answer questions from interested parties. Such an exhibition is also called a "reader's benefit exhibition".
Genre exhibition - an exhibition designed to reveal the content of the fund of fiction or literature on art by type and genre.
Live exhibition - an unconventional exhibition that combines a text series, illustrative materials, as well as living creatures, be it fish, hamsters and other representatives of a living corner. In the future, such a variant of a “living exhibition” consisting of “living books” is also possible, as an exposition of interesting people following the example of a “living book” and a “living library”. The goals of such exhibitions are similar- to acquaint with all the diversity of nature, the world of living beings, including the complex and unique world of man.
Mystery Exhibition — an interactive exhibition that includes such an element of the game as the presence of a riddle that is proposed to be solved after familiarizing yourself with the exposition materials in advance.
Exhibition-game— an interactive exhibition that includes elements of the game, whether it is a theatrical performance of book characters, solving riddles about literary characters, situational games. Books, toys, crafts related to a common theme are placed on the exhibition. The purpose of the exhibition- encouraging children to read.
Exhibition-impulse , as a kind of societal (related to society, considered as a whole), is dedicated to acute problems, sudden social topics, ideas, the desire to draw special attention to them, to induce action. It is designed in poster technology - catchy and emotional.
Exhibition-installation is a view of the exhibition exposition as a work of art. The exhibition in this context is seen as a spatial composition built on an extraordinary combination of books, everyday things that give rise to new images and meanings. At the same time, the exposition is given volume, three-dimensionality, a kind of 3D format, inside which the visitor is located.
Exhibition interactive - a new generation exhibition, the main feature of which is interactivity - the presence of a dialogue between all participants in the exhibition processes, the mutual exchange of information. As a rule, it is used in a children's audience for educational purposes. Includes game elements, exchange of opinions, joint creativity.
Exhibition-study — an interactive exhibition presenting the results of a study of reader interests. Readers are invited to make their own “Golden Shelf” of the best books or “grow a tree”, on the leaves of which their favorite books are indicated. The purpose of such exhibitions is to encourage reflection, search, and joint creativity.
Exhibition for significant and memorable dates - a thematic exposition for the "red" days of the calendar, the purpose of which is to remind about the event, to provide information about its history, traditions, to create a certain mood for the holiday.
Perform creative tasks - draw an illustration for a book, make crafts, a homemade book
Prepare an exposition of creative works, sum up, award participants and winners.
Conceptual exhibition according to the content, it is thematic. A conceptual exhibition is the art of translating an idea into an exposition space from disparate elements into a single hypertext, which allows one to get acquainted with information in any sequence. The exposition can be created in the gallery, in the hall, on the landing or "on the ground". Paintings, illustrations, texts (books, their fragments, quotes), objects and exhibits, performance (representation), installation are the main forms of implementing the ideas of conceptualism in an exhibition format.
Local history exhibition (local history) - a kind of thematic exhibitions designed to reveal the content of the fund of local history literature. The central place in the exposition belongs to local history publications. At the same time, they contain materials and attributes of museums and organizations, examples of literary local history, memoirs of old-timers, antiquities, photographs reflecting local exoticism and the history of the region. Includes guided tours of the exposition. Can be part of a tour itinerary.
Crossword exhibition (Chineword exhibition) — an exhibition of a new generation to help the educational process. The main element is a crossword puzzle (chainword). Literature with answers and multiplied leaflets with crossword puzzles are placed around it, which can be filled out at home.
Exhibition local is an exposition placed in the local space of a department or subsection of the fund, designed to reveal funds by industry or limited to a narrow topic. It is informational or advisory in nature.
Memorial exhibition - a variety of thematic. An exhibition dedicated to the life and work of the person whose name the library bears. It is designed as a museum exhibition.
Museum exhibition - a kind of thematic, the main element of which is the exhibit - be it a document, object, photographic material, while the library exposition is built around the book as the main attribute of the exhibition.
Exhibition-mood - an exhibition of a new generation, according to the content, it is thematic. Its meaning is to create a special atmosphere, a special mood. Therefore, it is most often part of the program of events, although it can be organized as a separate independent event or as a series of exhibitions. Exhibition-mood is a rejection of the Text. The only text allowed on it is the title. The main thing in it is the visual range, which should be accurate, expressive and make a deep emotional impression. The exhibition is complemented by items of attributes and musical accompaniment. The books in it may not have an independent meaning, becoming an element of an illustrative or attributive series.
Exhibition of undeservedly forgotten books - one of the varieties of thematic, the purpose of which is to remind and promote the best examples of literature that contribute to mutual understanding of generations and the preservation of continuity.
Exhibition non-traditional is a new generation exhibition containing new, non-trivial approaches to the concept of the exhibition, its content and design. Its distinctive features are interactivity (an open dialogue between all participants of the exhibition processes), original interpretation of the theme, bold design solutions that enhance entertainment.
Exhibition of one book, one magazine, one newspaper or one publication - an exposition, thematic in content, built according to a general methodology in order to interest the user in a particular document. A variety of material attracts attention, reveals the meaning of the document, its significance, encourages reading.
Exhibition personal - a variety of thematic, related to the life and activities of a certain person (person): prominent cultural figures, politicians and poets, local celebrities who have shown themselves in creativity or work. The materials of the exhibition are devoted to a specific person, tell about his life and work, include his works and works.
Exhibition-portrait - the same as the personal exhibition.
Exhibition-caution – an interactive exhibition, societal in content, in terms of design – poster. It is called upon to answer the pressing questions of the present, taking into account the opinions of users who express their attitude by signatures on blank sheets of the stand.
Exhibition-provocation - an interactive exhibition that includes such an element of the game as conscious errors. Readers are encouraged to find these errors and inconsistencies in the details of the exhibition and report them to the organizers.
Exhibition-view is an exposition that reflects the fullness of the publications available in the library and selected according to certain criteria. According to the content, they can be universal (exhibitions-views of new acquisitions), sectoral (to help professional reading), thematic.
Exhibition-disintegration (book collapse, thematic collapse) - a kind of exhibition-viewing, unsystematic (spontaneous) exposition as a way of indirect recommendation and a means to enterin a dialogue between the reader and the librarian or other reader. collapseincludes the bulk of books handed over the day before by other readers, as well as publications "planted" as a bait by the librarian himself.
Exhibition-Reflection - a kind of interactive exhibition, thematic in content, including readers' reflections on the proposed occasion in the text series. Placement of leaflets with reflections can take place during the work of the exhibition as they are collected. The goal is to exchange opinions and indirectly promote literature.
Exhibition-situation — a kind of exhibitions of a new generation, the distinguishing feature of which is the ability to create an exposition by the readers themselves, depending on the proposed situation: “I will take this book with me to a desert island”, “I will take this book on a space journey”, etc.
Exhibition-dictionary - a kind of exhibitions of a new generation to help education in order to explain new terms and definitions. Organized for pupils or students. The text series consists of dictionaries (encyclopedias, reference books) on the topic and factual information that explains the most difficult concepts.
Exhibition-advice, -recommendation - a kind of exhibitions of a new generation. Books are selected on a specific topic, problem: "How to become rich and happy", "How to quickly learn English", etc. The text series includes factual information and recommended lists of references.
Societal exhibition — a thematic exhibition dedicated to social issues: politics, ecology, drug addiction, crime, white spots of history, etc.
Exhibition stand- a kind of stand exhibition, limited to the theme of a specific event: Open Doors Day, Information Day, educational seminars, conferences, round tables.
Surprise Exhibition - non-traditional (non-standard) exhibition, a kind of exhibition-installation, original in execution, with an unusual arrangement of exposition elements - on an overturned rack, with an installation of books in the form of a house or a spiral staircase, with a slide of old computers, with unusual subject accessories. The purpose of this exhibition- attract to reading through surprise and play.
Thematic exhibition — an exhibition dedicated to topical issues related to public needs in the field of politics, economics, science, technology, culture and art. Target- to present the most valuable literature on a particular topic. Thematic exhibitions are prepared as separate expositions, cycles or as part of the event. They also include exhibitions of a new generation: exhibitions-questions, crossword puzzles, dictionaries, advice, facts, discussions, conceptual exhibitions, etc.
Exhibition-test- a kind of exhibitions of the new generation, designed for teenagers and young people, includes tests and related literature, where you can find tips and recommendations based on test results.
Exhibition traditional - an exhibition, the main element of which is a book, and main goal— disclosure of the content of the library fund in various aspects. Most often, these are thematic and genre expositions, exhibitions-views.