If museums don’t travel to tourists, tourists must travel to museums. That’s the current reality in China, due to the coronavirus pandemic. Since last March, the nation has restricted entry, permitting only citizens and resident foreigners, who must endure a three-week quarantine. Conversely, the European Union reciprocates by denying tourist and business visas to Chinese citizens, previously the largest group of international travelers and spenders. To prevent the virus’s reintroduction, Chinese authorities have also ceased passport renewals for its citizens.
Consequently, the tourism sector has suffered the absence of over 100 million Chinese tourists who previously frequented global landmarks, museums, and luxury stores. In 2019 alone, nearly 900,000 visited Spain, spending an average of €2,500—significantly more than German and French tourists.
The uncertainty surrounding China’s border reopening, given its stringent ‘Covid 0’ policy, is alarming. The emergence of the Omicron variant has only intensified these restrictions. Furthermore, three significant events loom for the Chinese government, necessitating even stricter controls. Firstly, Beijing hosts the Winter Olympics in February. Secondly, the 20th Communist Party Congress convenes in October, where Xi Jinping will secure his continued leadership. However, his official reappointment as president won’t occur until the March 2023 National Assembly, leading many to speculate that the borders will remain closed until then.
While awaiting the return of Chinese tourists, other nations continue promotional efforts, including Spain. In the interim, institutions such as the Prado Museum are proactively engaging potential visitors. They’ve brought their art to the bustling metropolis of Shanghai. Specifically, to its busy subway system. Since November 6th, a display featuring 29 masterpieces has been presented there. Located in an 810-square-meter corridor near Exit 2 of Longhua Central, close to the French Concession, the exhibition showcases life-size reproductions of iconic
Among the showcased masterpieces are Titian’s equestrian portrait of Charles V at the Battle of Mühlberg, a Leonardo Da Vinci workshop Mona Lisa replica, a Dürer self-portrait, Jan Brueghel the Elder and Rubens’s *The View*, and Jacob Jordaens’s *The Painter’s Family*.
However, the exhibition’s true stars are the large-scale reproductions of Spanish painting giants. Viewers are captivated by Velázquez’s *Las Meninas*, *The Surrender of Breda*, and *The Drunkenness of Silenus*, and Goya’s *La Maja Clothed*, *The Parasol*, and *Winter*. The Countess of Vilches portrait by Federico de Madrazo is a particular crowd-pleaser, frequently photographed alongside a *menina* cutout for a fun photo opportunity. One visitor, Mr. Zhang, shared his family’s plan to visit Spain after seeing the exhibition, hoping his daughter will appreciate seeing the originals after her enjoyment of these stunning reproductions.
A Tribute in Ceramics
The exhibition cleverly incorporates Chinese elements, notably export porcelain, featured in several paintings. This detail highlights the porcelain’s popularity in 16th- and 17th-century Europe. Further connecting with the local audience are video clips of pianist Lang Lang’s Prado performance and Cai Guo-qiang’s 2017-2018 Prado exhibition.
The exhibit’s educational value is evident in its use by Shanghai teachers, like Rafael Martín Rodríguez from Fudan University, who use the show as a practical art lesson for their students.
To enhance visitor engagement, the exhibition provides detailed information beyond typical posters, offering a QR code that links to a virtual Prado museum tour accessible via the WeChat app.
The global tourism landscape has been irrevocably altered by the COVID-19 pandemic, and nowhere is this more evident than in the relationship between China and the rest of the world. The article highlights the dramatic decline in Chinese tourism, a sector that previously injected billions into global economies. The closure of China’s borders, coupled with reciprocal visa restrictions from the EU, has left a gaping hole in the coffers of many countries, including Spain, which benefitted greatly from the high spending power of Chinese tourists.
The impact on Spain, and specifically on institutions like the Prado Museum, is significant. In 2019 alone, nearly 900,000 Chinese tourists visited Spain, spending a considerable amount. The article correctly points out the uncertainty surrounding China’s reopening and the political events impacting its stringent border controls. The Winter Olympics, the Communist Party Congress, and Xi Jinping’s reappointment all contribute to a climate of uncertainty. Waiting for the return of this lucrative tourist market is a risky proposition.
But the Prado Museum isn’t waiting passively. Instead, they’ve brilliantly adapted to the situation. Instead of waiting for Chinese tourists to come to Madrid, the Prado is bringing its art to the Chinese people. As reported, a display featuring life-size reproductions of 29 masterpieces has been installed in a Shanghai metro station since November 6th. [[3]] This isn’t just a clever marketing strategy; it’s a demonstration of cultural diplomacy and ingenuity. It acknowledges the reality of the current situation and proactively seeks to engage a crucial audience. This move showcases works such as Titian’s equestrian portrait of Charles V.
This proactive approach by the Prado is a masterclass in adapting to challenging circumstances. It also foreshadows a potential future where museums will need to be more flexible and resourceful to reach their audiences. No longer can they simply wait for visitors to come to them; they must find innovative ways to bring the art to the people, especially in a world increasingly impacted by geopolitical and pandemic-related restrictions. The Prado’s initiative in Shanghai [[3]] , alongside the planned exhibition in Shanghai in April 2024 [[1]], show a commitment to engaging with the Chinese audience regardless of border limitations. This bold move might become a template for museums across the world facing similar challenges. Further, the initiative highlights the power of art to transcend geographical boundaries and political limitations.