Museum diplomacy in the digital age

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Notes on contributor

Rémy Jarry received his PhD in Art History from the China Academy of Art researching on Chinese art from a cross-cultural perspective. He also holds an MA in Art History from Panthéon-Sorbonne University as well an MBA from Sorbonne Business School. Rémy has been working as a Lecturer in Art History and Cultural Management at Chulalongkorn University since 2015 and at the Catholic University of Paris since 2019. Rémy has also been working for various cultural organizations over the last 20 years in both Europe and Asia. Fluent in French, English and Chinese, he regularly participates to conferences on Art History and Museum Studies. Rémy is also an associate member of ICOM France and the National Museum Volunteers Bangkok.

Notes

1 For example, France has created Agence France-Muséum, a dedicated organization for the development and management of the Louvre Abu Dhabi.

2 Including non-democratic regimes such as the People’s Republic of China: the country has developed ground-breaking collaborations between museums (including Western institutions) and social media such as WeChat (微信), TikTok (抖音) and Bili-Bili (哔哩哔哩).

3 Notably in Abu Dhabi, Canberra, Taipei, Tokyo, Beijing and Shanghai. Moreover, China has clearly voiced its claim for the repatriation of cultural goods from the collection of the British Museum as well as its support to Greece for the restitution of the Parthenon Marbles.

4 For reference, the British Museum was also the recipient of the Art Fund Prize in 2011 thanks to this exhibition.