The Museum has also arranged guided tours for people with intellectual disabilities, working in conjunction with occupational therapy groups in fact we have been organizing these visits for a few years now, taking school groups with students with intellectual disabilities around the permanent collection.Įmbossed images. Adapted visits have also been scheduled for people with hearing impairment, incorporating sign language, lip reading and FM broadcast commentary. Meanwhile, the Education Service of the Public Programmes Department developed adapted visits for visually impaired people, using descriptive narrative to articulate the visit, reproducing in relief of some of the works on show, the tactile perception of the silhouettes facilitating an appreciation of the picture’s structure, and including a life-size reproduction of a wooden figurine featured in the exhibition. As well as coordinating the actions of the various departments, Visitor Services provided training for staff working with the public on improving interaction with and attention to people with different forms of sensory disability. The interventions range from the simple to the complex: Communication produced gallery guides with the exhibition texts in Braille and large print, while Exhibition Coordination took charge of the wall texts to ensure the exhibition information was in a typeface and a size that made it easy to read and that the colour combinations would not present difficulties for people with visual disabilities. Presentation of accessibility communicative measures for the exhibition “Feasting on Paris. In addition to the ICUB input we have had ongoing advice and guidance from the Municipal Institute for People with Disabilities, enabling us to formulate and implement a proposal for action that is balanced and, most importantly, achievable. The process has therefore been shared and discussed with the participation of the heads of Visitor Services, Communication and Graphic Design, Public Programmes and Exhibition Coordination and Production. The transverse dimension has also been very important here, given that the accessibility of communication has to do with all of the facets involved in putting on an exhibition. We at the Museum wanted to incorporate communication accessibility criteria right from the start of the production process, fully embracing a fundamental reality: to bear in mind the relevant measures and actions in the whole museological conception of the exhibition, from the formulation of the brief given to the professionals working on the interior layout and graphic design to the sharing of these concerns with the exhibition curator and their incorporation into our educational provision. For some time now the ICUB has been providing the city’s museums with the tools they need to improve in this facet of communication in general, and especially in the production of temporary exhibitions.

In this task we have benefitted from the invaluable input of Barcelona’s Institut de Cultura (ICUB), guiding us through the process and providing support at each step. Picasso 1900-1907” gave us the perfect opportunity to incorporate communication accessibility measures and implement these in the exhibition process. Preparation of the exhibition “ Feasting on Paris. We have long been aware of the need to make accessible to everyone not just the physical space of the museum but also our content, and had marked it out as a priority, as we noted in a previous post. Here at the Museu Picasso we have at last got round to tackling a very important pending aspect of accessibility: accessibility of communication.

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