With the branding development of the international exhibition industry and the increase in the number of mergers and acquisitions of exhibitions, the assessment of the brand value of exhibitions has gradually come into the view of governments, investment and financing institutions and researchers. Compared with the brand value assessment of consumer goods and industrial sectors, the brand value assessment of exhibitions, especially B2B exhibitions, has special characteristics. A model for brand value assessment of B2B exhibitions is proposed, which can not only provide a reference for decision-making on M&A behaviour of exhibitions, but also provide a decision-making tool for government exhibition brand promotion. The aim of this paper is to explore the feasibility of constructing an AHP-based conceptual model for brand value assessment of exhibitions in Shanghai through a hybrid study. The applicability of the conceptual model for exhibition brand value assessment is empirically demonstrated by analysing six steps, including establishing pairwise comparison matrices, calculating the maximum eigenvalues and normalised eigenvectors of each comparison matrix, conducting consistency checks, group decision matrix synthesis and weight allocation of exhibition brand value assessment indicators. On this basis, the three values of the model in practice and theory are explored separately. The research results can provide better brand value assessment and development support for exhibition stakeholders and improve the sustainability of exhibition brands.

Created in 1905, the Société des Artistes Meridionaux organized annual exhibitions in Toulouse, in order to promote regional arts and (re)created a "Latin" - and modern - style. Based on a corpus of 11,486 artworks exhibited at the SAM between 1907 and 1939, this paper seeks to measure the contours and particularities of the Salons des Artistes Meridionaux, using a computational approach.

Art organizations are increasingly focusing on enhancing the visitor experience to attract a wider audience. The aim objective of this study was to explore the key factors that influence the visitor experience of offline art exhibitions and to use a mixed methods to data collection and analysis. The research process was divided into three stages. In the first stage, we conducted semi-structured interviews with 12 respondents by dividing the exhibition experience into three time periods: pre, during, and post-visit. We extracted seven factors affecting visitor experience through qualitative content analysis including marketing, motivation, physical environment, exhibit quality, participation, technology and service facilities; in the second stage, we developed an assessment scale and pretested it; in the third stage, we collected 725 questionnaires to validate the factors of visitor experience in art exhibitions. The results of linear regression analyses showed that all seven key factors had a significant impact on visitor experience. This study constructed a scale to assess the factors of art exhibition experience, which provides theoretical sup-port for in-depth study of art exhibition experience and useful guidance for planning and design-ing art exhibitions to improve the quality of visitors' experience of art exhibitions.

In the last years, interactive exhibitions based on digital technologies are becoming widely common, thanks to their flexibility and effectiveness in engaging visitors and creating memorable experiences. One of the topics in which digital technologies can be particularly effective is the communication of abstract concepts that are difficult for the human mind to imagine. An emblematic example is the astronomy discipline, which requires us to imagine and understand phenomena far away from our everyday life. In this paper, the authors present a research project, MARSS, in which digital technologies are used effectively to enhance the Users’ Experience of the Museo Astronomico di Brera located in Milan. Specifically, the MARSS project aims at designing and developing a new digital journey inside the museum to allow different categories of visitors to enjoy the exhibition in an engaging and interactive way. The paper presents the design and development phases of the experience and its evaluation with users. The results of the evaluation indicate that the digital interactive experience has been appreciated by users and is successful in translating the content of high scientific value into more engaging and easily understandable elements.

The IRRESISTIBLE Project (FP7, Grant 612367) had the aim of involving teachers, students and the public in the discussion on Responsible Research and Innovation (RRI), promoting both the construction of knowledge on cutting-edge (and controversial) research topics and the discussion about the criteria that these research/innovation processes should respect in order to be considered as responsible. These criteria also represent a strong contribution to a more sustainable future for all. This quantitative research evaluates the impact of IRRESISTIBLE’s student-curated exhibitions – about the RRI dimensions of cutting-edge research topics (socio-scientific issues) – on students’ perceptions regarding their scientific competences and the science classes. A pre and post-questionnaire was developed, validated and applied to students from 10 countries. The overall results of the statistical analysis indicate that students improved their perceptions regarding their competences for developing exhibitions in science classes as a way of creating awareness on topics relating science-technology-society. This activity reinforced students’ perceptions that in science classes they: a) discuss current issues and how they impact their lives; b) develop socially and relevant projects; and c) learn how to influence other citizens’ decisions about social issues related to science, technology and environment with the aim of assuring a more sustainable future.