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Delving into the Louvre staff strike: overtourism takes its toll on a centre of culture
Massive queues slowly snake their way to The Louvre in the blistering summer heat (AP) It may only have been for a day, but the employees' strike at The Louvre in Paris underscores the severe impact that overtourism has on even the world's biggest attractions. To backtrack: on 16th June, the entire staff at the famed museum walked out of their jobs, much to the consternation of tourists and officials, in a wildcat strike against a double-whammy of overtourism and deteriorating working conditions. The strike came a day after protesters throughout Southern Europe made their way to the streets to demand government action against the increasingly adverse effects of overtourism on local communities and their standard of living. In a report by the Associated Press that has since been syndicated globally, the mass walkout began following dissent during a routine staff assembly as the workday began on 16th June. As a result, regardless of the fact that crowds of tourists were already milling about outside in the heat of the noonday sun, The Louvre remained closed until 2:30 in the afternoon; even then, the number of those allowed inside was strictly limited. Christian Galani, a spokesperson for French labour union CGT-Culture whose members include employees at The Louvre, declared: “We didn’t plan to go on strike, but the people are so exhausted, they can’t support the conditions getting worse and worse.” It's all too much Per reports, Louvre staff gathered for their monthly assembly at around 10 in the morning local time on the 16th, but people walked out instead of returning to their posts. The surprising tipping point that drove them to a mass walkout: the increasingly obvious issue of overcrowding around the museum's most famous artefact on display, Leonardo da Vinci's Mona Lisa. Approximately, 20,000 people come to see the world's most famous smile six days a week, jamming themselves into Le Salle des États, The Louvre's largest hall. But rather than silently appreciating the work of a Renaissance master, visitors to the Mona Lisa behave as if they were at a theme park: voices calling to one another loudly, jostling and jockeying to get the best angle for a snapshot, selfies left and right, and essentially posing the danger of physical damage to both artwork on display and fellow museum visitors. Museum officials have long pointed out that people only come to the museum for the Mona Lisa, to the exclusion of other great works of art and momentous archaeological finds; it's a matter that has been both overwhelming, exhausting, and worrying as massive crowds alter the temperature of display halls, potentially endangering precious artefacts of human history. While the French government has been assuring museum officials and staff of their support by way of a ten-year redevelopment plan, those on the frontlines demand immediate action to address ongoing problems. According to one of the museum's visitor service agents Sarah Sefian: “We can’t wait six years for help. Our teams are under pressure now. It’s not just about the art: it’s about the people protecting it.” French President Emmanuel Macron announced the upcoming general refurbishment and organisational restructuring of The Louvre in January of this year, but insiders pointed out that no action has been taken since the announcement. CGT-Culture's Galani explained that one key point of détente was the fact that over 200 positions have been vacated over the past 15 years, and that staff feel ill-equipped to deal with the massive crowds who have surged in following the relaxing of pandemic restrictions since 2023. Galani said: "Nothing has changed; there are still too many visitors, and the rooms are in very bad condition. It’s very difficult for the workers.” Why overtourism is bad for museums Most travellers tend to forget one fundamental thing: crowds will raise the ambient temperature of an area, especially if it is an enclosed space like that of a museum gallery. There is a reason why climate control is necessary in museums and art galleries: if presented in areas that are either too hot or too cold, the structural integrity of pieces, especially those over several decades or even centuries old stands to deteriorate, often irreparably. The same thing goes for archaeological finds regardless of whether these are fragments of ancient manuscripts or preserved human remains as in the case of either Egyptian or Peruvian mummies: display areas are kept at a certain temperature and the number of people who may gain access to them at any given time are strictly limited. In addition, overtourism is equal to overcrowding which, in turn, leads to a diminished experience for many museum-goers whose enjoyment and appreciation of art is ruined by influencers noisily doing livestreams or tourists elbowing others out to get the perfect selfie. Overtourism has resulted in increased maintenance costs over the past several years, as crowds wear on historic infrastructure, and there is an ever-present danger of vandalism as seen in the behaviour of younger travellers over the past several years. Protecting artwork against vandalism has also taken a toll on museum security and curatorial staff in light of the way radicals from the group Just Stop Oil have been actively destroying priceless works of art, and the way ill-educated tourists have tried to put a personal stamp on destinations by carving marks into statues and structures. While the French government continues to give assurance that corrective measures will be taken, museum staff are taking it with a grain of salt; but The Louvre strike which closed the doors of the world's foremost museum to the public should be seen as a cautionary tale to their peers in the cultural management sector with regard to how badly overtourism may affect them in the long run.
Parfums de Marly partners with Musée du Louvre
Parfums de Marly announces its partnership with the world's most visited museum to enhance a remarkable collection of 18th -century masterpieces. Starting in September 2024 and for a period of three years, Parfums de Marly will be working alongside the musée du Louvre on a major project to restore a wing of the Decorative Arts department, known as the salles Cressent, to its former glory. A first for the Maison de Haute Parfumerie, this initiative represents a most prestigious tribute to the Enlightenment, as well as an opportunity to reassert its passion for French cultural heritage. A Shared Vision “The golden age of perfumery, the 18th century also represents the apogee of refinement and the French art de vivre. The galleries that will be restored at the Louvre bear witness to a unique savoir-faire as realized by artists, goldsmiths and ingenious cabinetmakers such as Charles Cressent. Participating in the conservation and transmission of that heritage is an honor for Parfums de Marly, as well as an immense joy for me personally, given my longstanding passion for 18th-century French history.” - Julien Sprecher, founder and artistic director of Parfums de Marly “When we began discussions with Parfums de Marly, we naturally found out that we had a lot in common, because the Objets d'Art department presents contemporary objects from the Château de Marly. The support of Parfums de Marly has enabled us to be increasingly ambitious and to turn this into a project of excellence.” - Olivier Gabet, director of the Decorative Arts department at the Louvre Restoring the Splendors of the 18th Century In the heart of the Louvre, the Decorative Arts department counts nearly 22,000 pieces, of which only 8,000 are on display due to their extreme fragility. Dedicated to the 18th century, the Cressent rooms in the Richelieu Wing are among the museum's best-kept secrets. Bearing witness to an exceptional century, these rooms are brimming with masterpieces - furniture, objects, tapestries, paintings, and more — from the great royal manufactures as well as Royal collections. With the support of Parfums de Marly, this renovation will focus on overall scenography in order to enhance the visitor experience, featuring an updated decor, optimized lighting, a reorganization of the spaces and “distance settings” to protect the works. Selected pieces signed by Charles Cressent - including two cupboards, a chest of drawers and a flat desk - will undergo careful study to assess whether their condition warrants restoration. An Immersion in French Art de Vivre The aim of this scenographic redesign is to bring spaces steeped in history back into the limelight, to showcase the excellence of this collection and to create a more immersive setting that will be conducive to exploring and capturing the imagination. Armchairs face each other in a salon where erudite men and women gathered; a vase is placed precisely on a mantelpiece to emphasize the organic lines of the nascent Rococo style; interiors are not only refined but also more comfortable thanks to furniture that is less imposing than in the previous century... Detail after detail, an entire French art de vivre comes to light. A true immersion in 18th-century life. A Three-Phase Installation Work on lighting scenography began in September 2024. There will be a break in the first half of 2025 to coincide with the exhibition devoted to fashion in the Louvre, which will be held in all the rooms of the Objets d'Art department (24 January - 21 July 2025). Renovations will then resume with the installation of distance settings, podium furniture and scenography plans. Finally, the teams will carry out a preparatory study and the restoration of Cressent furniture.Throughout the project, Parfums de Marly will post updates on its website and social media accounts, before celebrating the inauguration and reopening of these rooms to the public in 2026.
Louvre Hotels Group announces a 5-year strategic plan and a massive investment to strengthen its leadership in the midscale segment
Louvre Hotels Group, the second-largest player in the hotel industry in France and Europe, with flagship brands such as Campanile, Kyriad and Première Classe, is implementing a strategic plan aiming, by 2028, to position each of its brands among the top 3 performing ones in the segments and countries where the group operates. With an unprecedented investment plan, the group will renovate 80% of its hotels. Through a new brand strategy, the designs have been completely revamped to enhance flexibility, thereby increasing development opportunities. This plan will also bolster services offered to franchisees by creating a service platform, redesigning the purchasing platform and loyalty program, as well as optimizing IT systems and e-commerce tools. This strategic direction is structured in 3 phases: - By 2025, managing, defining and implementing the new plan and business model as well as redefining the fundamentals of each brand, - Between 2026 and 2027, boosting organic growth, - In 2028, exploring additional opportunities. Strong brands always positioned among the top 3 performing ones on each key market The group has redefined its brand’s structure to build a strong and relevant brands portfolio, focusing on both concepts and experiences. The aim is to rank the brands among the top 3 of their segment and countries where they operate in. The new architecture also provides greater flexibility while optimizing costs, transforming the brands into conversion brands, thus atracting new investors and franchisees. This plan was developed around leading brands in the economy and midscale segments: Première Classe, Kyriad Direct, Kyriad, Campanile, and Kyriad Prestige. Rounding out this architecture are the Group's two hybrid brands, Hosho and Tulip Hôtels et Résidences, as well as Golden Tulip, with a more upscale positioning. Campanile, a flagship and historically significant brand within the Group, is strengthening its position in the midscale segment to make every stay a memorable moment of sharing and conviviality. To deliver this promise, the designs have been completely revised, while remaining adaptable to provide flexibility and full control over renovation costs. From the reception area to the rooms, including common spaces and exteriors, new warm, modern, and comfortable environments have been created. The dining experience, a cornerstone of Campanile's identity, has been rethought with memorable elements inspired by traditional French cuisine. Two of the most recent brands, Hosho and Tulip Hotels & Residences, represent hybrid and innovative concepts that cater to the evolving accommodation preferences of consumers: - Hosho is a next-generation hostel model, firmly positioned in the budget segment, offering a product that combines traditional rooms with dormitories accommodating up to 8 people, - Tulip Hotel & Residences is a new design-oriented midscale brand that provides both traditional rooms and a long-stay accommodation approach with studios and apartments. Some key comfort elements, such as bedding or showers, have been developed to bring greater clarity to the promise of each brand and their new positioning. Customers will find these 'brilliant basics' in all group establishments, consistently elevating the brands above the standards of their category. The goal is to have 80% of the establishments implementing the brilliant basics by summer 2025. A major renovation plan to gain market share The Group will roll out an extensive hotel renovation plan featuring new, adaptable, modern, and distinctive designs and concepts tailored to each hotel. The objective is to renovate 80% of the hotels by 2028. Furthermore, while updating these properties, the investments will standardize the hotel portfolio and reinforce the Group's position in the midscale segment. Meanwhile, Louvre Hotels Group will continue to strengthen its presence in its key markets, where it is already firmly established with strong and popular brands: - In France, the group's historical market, development ambitions are reinforced with the signing of over 200 new hotels between 2024 et 2028, - In China, 265 hotels will open between 2024 and 2028, adding nearly 40 000 additional rooms, thereby reaching a total of 500 operating in the country, - In India, 50 new hotels will be established, reaching nearly 200 establishments, thereby consolidating the group's leadership position in the Indian midscale segment, - And the rest of the world, over 120 hotels will open in the next 5 years. A strategic plan that focuses on investors and franchisees To refocus on its investors and franchisees, Louvre Hotels Group will implement new tools and services ensuring better profitability and efficiency, aiming to gain market share while optimizing the operational model and costs. A platform encompassing all services offered by the group to its franchisees will be launched in 2024. Designed to bring agility, flexibility, and simplicity while further streamlining the franchisor-franchisee. relationship, this platform will offer various customizable services tailored to the needs of each hotel. It will provide opportunities for additional revenue for the group. Services available will include technical and design assistance to support investors in hotel renovations, revenue optimization and pricing services, as well as a revamped purchasing platform for enhanced efficiency. Additionally, digital management and reservation tools (such as CRS or PMS) will be optimized to facilitate the daily hotel operations while ensuring greater profitability for partners. All these innovations serve as growth drivers and productivity enhancers for the network hotels, further strengthening Louvre Hotels Group’s leadership in the midscale market in France and internationally. Federico J. González, CEO of Louvre Hotels Group, said: “It is a great pride for the entire company to announce this 5-year strategic plan that the teams have worked on extensively. I have been extremely impressed by their commitment and dedication in building this plan alongside the executive committee. Today, Louvre Hotels Group enters a new phase, and with the support of our shareholder, Jin Jiang Hotel, we are determined and mobilized to execute it and together build the future of Louvre Hotels Group.”
New Louvre Abu Dhabi exhibition “Letters of Light” opens to the public
From 13 September 2023 to 14 January 2024, Letters of Light displays some of the oldest sacred texts of the three monotheistic religions. Held in partnership with Bibliothèque nationale de France and France Muséums Louvre Abu Dhabi is pleased to announce that its latest exhibition, Letters of Light, was inaugurated by H.E. Mohamed Khalifa Al Mubarak, Chairman of Louvre Abu Dhabi. Featuring some of the oldest texts of the three monotheistic religions, Letters of Light will open to public on 13 September and will run until 14 January 2024. Held in partnership with Bibliothèque nationale de France and France Muséums, Letters of Light explores the historical context in which the holy books emerged, the way they have been passed down over the years, the scholarly and mystical practices associated with them and their essential role in universal intellectual and artistic history. The exhibition is curated by Laurent Héricher, Head of the Oriental Manuscripts Department, Bibliothèque nationale de France, and Dr. Souraya Noujaim, Director of the Islamic Arts department, Musée du Louvre, and former Director for Scientific, Curatorial and Collections Management at Louvre Abu Dhabi. With more than 240 artworks on display, visitors will discover important and beautiful manuscripts of the Quran, Bible, and Torah as well as artefacts from the collections of the Bibliothèque nationale de France, the Musée du Louvre in Paris and Louvre Abu Dhabi. These pieces include manuscripts, photographs, graphic arts and three-dimensional objects, textiles and paintings from all over the world. Offering a contemporary perspective, the exhibition also showcases a commissioned artwork by Muhannad Shono, The Unseen. The thread-based installation by the Saudi visual artist metaphorically connects the threads of the three religions through a contemplative experience. Manuel Rabaté, Director, Louvre Abu Dhabi, said: "Letters of Light invites visitors to embark upon a journey of profound reflection, exploring the intricate interplay between creative ingenuity and spirituality. From exquisite texts like the Souvigny Bible to beautiful paintings such as Giovanni Bellini’s Virgin and Child, and intriguing artefacts like the Key to the Kaaba, this exhibition displays an array of remarkable items to highlight the shared origins of the three monotheistic religions — each an embodiment of beauty and knowledge. As one journeys through this captivating showcase, they'll uncover how these three faiths share profound roots, enriching their understanding beyond personal beliefs." He added, "We are honoured to have partnered with Bibliothèque nationale de France and France Muséums to curate this exhibition, seamlessly bridging and fostering vibrant cultural connections." Laurent Héricher, Head of the Oriental Manuscripts Department, Bibliothèque nationale de France, said: “Presenting some of the oldest and most important books and manuscripts, extraordinary illuminated and marvelous calligraphy, this exhibition has been created to emphasise the universality of Quranic, biblical, and evangelical messages, as well as the intrinsic ethical dimension of these three religions and their predominant role in universal intellectual and artistic history. This fully aligns with the universal dimension of Louvre Abu Dhabi, a place open to dialogue that brings together different cultures to shed light on these common stories of humanity, transcending civilisations, eras, and places. We hope that this journey to the heart of the spiritual roots of human history invites visitors into a moment of meditation and aesthetic emotion.” Dr. Souraya Noujaim, Director of the Islamic Arts department at Musée du Louvre, and former Scientific, Curatorial and Collections Management Director of Louvre Abu Dhabi, said: “By highlighting episodes and figures that are shared by all three monotheistic religions, we hope to deepen visitors’ understanding of these Holy Books, offering a retrospective on the rich history of sacred texts, exploring their forms, their languages, and the texts they contain. Letters of Light presents an extraordinary moment to see some of the rarest artworks, monotheist sacred scriptures, and items, displayed side-by-side. These include artefacts such as the Blue Quran, which translates the exhibition’s title ‘Letters of Light’ in its passages. This almost modern calligraphy, painted in golden letters contrasted by a deep blue background, conveys a reason for contemplation.” Masterpieces from the exhibition include artworks and manuscripts from Louvre Abu Dhabi’s collection: Blue Quran folio, one of the most sumptuous ancient copies of the Quran to have survived to the present day. Consisting of seven volumes, the page was probably produced in Kairouan, Tunisia, in the 9th or 10th century. The dark blue page symbolises the celestial universe and the gilded letters the divine light spread by the word of God. A dedicated passage reassembling six pages of the dispersed Blue Quran will be included in the narrative. Palimpsest leaf of a Quran (Hijazi style), the script in the leaf on offer is described as Hijazi script. It is known to us from the 10th century Baghdadi writer Ibn al-Nadim as the earliest form of Arabic script. He attributes the script to Mecca and Medina, in the Hijaz region of the Arabian Peninsula, hence the name Hijazi links the script to its geographical origin. Virgin and child by Giovanni Bellini, an important piece of work that is representative of the early Venetian Renaissance and the art of Bellini. The technique of oil painting was at the time an innovation that distinguished Venice from the other centres of Italian art. The intensity of colour in the piece is accentuated by the use of a monochrome black background rather than the usual landscape, which was rare for Bellini. The exhibition also features highlights on loan from Louvre Abu Dhabi’s partners, such as: Souvigny Bible with the representation of Abraham’s Bosom, late 12th century; Dead Sea Scrolls (oldest Hebrew bible manuscripts known), early 1st century; Gutenberg Bible, c. 1455–56; Key to the Kaaba in the name of Sultan al-Malik al-Nasir Faraj ibn Barquq, 1399–1412; Collection of prayers with hexagonal leaves, finely bound together and covered with text that unfolds from the lower binding flaps, 1744. Visitors to the exhibition will also view the world's smallest Bible to have travelled across space, the Nano Bible, which astronaut Eytan Stibbe brought to the International Space Station in April 2022. In addition, visitors will learn more about a great archaeological discovery, the ‘Ras Al Khaimah Hebrew gravestone. Discovered in the 1970s, the stele is engraved with the epitaph of a Jew who passed away in Ras Al Khaimah. It represents the first tangible evidence of Jewish presence in the United Arab Emirates. As part of the museum’s cultural programming, Louvre Abu Dhabi will host a curatorial talk on 12 September from 5 – 6pm, offering insights from Laurent Héricher and Dr. Souraya Noujaim on the work that went into bringing the exhibition to life. A second talk, ‘Archaeology and Architecture’, will take place from 6:30 – 7:30pm, featuring a riveting panel including Dr. Timothy Power, Dr. Mark Jonathan Beech, and Manal Ataya. The talks will feature national and international speakers from multiple disciplines, offering visitors the opportunity to delve deeper into seeing and reading the works of artistic and textual heritage selected for the exhibition, in the context of Louvre Abu Dhabi as a universal art museum. The talks will also bring attention to the living traditions of thought and practice that converse with the scriptures and scriptural legacies in contemporary contexts. More details of the rich cultural and educational programme accompanying the exhibition will be announced at a later date. For more information about the exhibition, and to book tickets, please visit louvreabudhabi.ae or call Louvre Abu Dhabi at +971 600 56 55 66. Entrance to the exhibition is free with the museum’s general admission tickets. Admission to the museum is free for children under the age of 18.
Etihad Airways’ new safety video showcases iconic Louvre Abu Dhabi
Etihad Airways, the national carrier of the United Arab Emirates, has unveiled a new safety video, filmed on location at Louvre Abu Dhabi, to give passengers across the globe, a glimpse of what attractions the capital has to offer. Terry Daly, executive director of guest experience in brand and marketing at Etihad Airways said: “Our safety video needed a refresh including the safety messaging requirements due to Covid. This new video goes beyond its main purpose of educating guests about essential safety information, it also reflects our brand and personality, while leveraging the best of our beautiful home, Abu Dhabi.” The video is set at Louvre Abu Dhabi, with Etihad’s very own cabin crew demonstrating safety features of the aircraft and other Etihad employees acting as guests. Emirati voice-over artists were used to voice the video in English and Arabic. To further ensure a consistent guest experience, the accompanying music is part of Etihad’s new signature sound collection which is used across the airline for a variety of touch points. The sonic branding is inspired by Abu Dhabi and is an eclectic mix of Emirati and international instrumentation and arrangements, played by musicians from the UAE and around the world. Etihad’s new safety video will be progressively rolled out starting with the airline’s Boeing 787 Dreamliners in April 2021. To protect health and safety, the new video was filmed following strict Covid safety protocols, including all cast and crew having to present a negative PCR test.
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