Thanks to this 100% online Postgraduate diploma you will be able to progress with firm steps in the field of Conservation and Exhibition of Cultural Heritage” 

There is no doubt that culture enriches society, and those places that preserve their heritage in the best possible condition have an extraordinary legacy for present and future generations. In order to achieve this goal, it is necessary to have a professional in charge 
of protecting, restoring and giving visibility to these tangible and intangible assets.

In this sense, the greater demand of society in recent years for the respect and care of monuments, assets of cultural interest, artistic spaces or works of art has enhanced the role of the cultural manager, conservators and restorers. This transcendence has led TECH to create this Postgraduate diploma in Conservation and Exhibition of Cultural Heritage, which offers students an intensive and advanced learning in this area.

A program where the graduate will be immersed over 6 months in the main existing problems to conserve the BIC, advances in methodologies and techniques, the most appropriate strategies to manage a museum and the cataloging and research of documents and works in artistic spaces. For this purpose, the professional will have access to innovative pedagogical tools and practical case studies 24 hours a day.

The professional is therefore before a Postgraduate diploma that will allow them to advance their professional career through a 100% online academic format, convenient and whose syllabus can be accessed whenever and wherever they wish. They only need an electronic device with an Internet connection to view the syllabus hosted on the Virtual Campus. In addition, they have the freedom to distribute the course load according to their needs, making this program an excellent opportunity for those seeking to balance their work and/or personal responsibilities with a quality university education.

Enroll now in a university qualification that will lead you to a detailed knowledge of the main platforms for the dissemination of collections and projects”

This Postgraduate diploma in Conservation and Exhibition of Cultural Heritage contains the most comprehensive and up-to-date academic program on the market. Its most outstanding features are:

• El desarrollo de casos prácticos presentados por expertos en Gestión Cultural
• Los contenidos gráficos, esquemáticos y eminentemente prácticos con los que está concebido recogen una información técnica y práctica sobre aquellas disciplinas indispensables para el ejercicio profesional
• Los ejercicios prácticos donde realizar el proceso de autoevaluación para mejorar el aprendizaje
• Su especial hincapié en metodologías innovadoras
• Las lecciones teóricas, preguntas al experto, foros de discusión de temas controvertidos y trabajos de reflexión individual
• La disponibilidad de acceso a los contenidos desde cualquier dispositivo fijo o portátil con conexión a internet

Matricúlate ya en una titulación universitaria que te llevará a profundizar cómodamente en la conservación de los bienes culturales y las colecciones patrimoniales” 

The program’s teaching staff includes professionals from the sector who contribute their work experience to this educational program, as well as renowned specialists from leading societies and prestigious universities.

Its multimedia content, developed with the latest educational technology, will provide the professional with situated and contextual learning, i.e., a simulated environment that will provide an immersive education programmed to learn in real situations.  

The design of this program focuses on Problem-Based Learning, by means of which the professional must try to solve the different professional practice situations that are presented throughout the academic course. For this purpose, the student will be assisted by an innovative interactive video system created by renowned experts.

Delve through your Tablet with an Internet connection into the most effective management of museums, galleries and exhibitions"

You are before a program designed for people who wish to balance their professional responsibilities with a quality university qualification"

The syllabus of this Conservation and Exhibition of Cultural Heritage has been designed with the main objective of offering students the most advanced and intensive learning on Conservation and Exhibition of Cultural Heritage. For this purpose, the graduate has multimedia tools (video summaries of each topic, detailed videos, diagrams, etc.), additional readings and case studies that can be accessed at any time of the day. In this way they will acquire the necessary knowledge about heritage protection, criteria for the restoration and conservation of BIC, the use of ICT in cataloging and the most appropriate management of museums, galleries or exhibitions.

A syllabus with a theoretical-practical approach for you to get a deep insight into the Conservation and Exhibition of Cultural Heritage”

Module 1. Cultural Heritage Conservation

1.1. Historic and Artistic Heritage Conservation and Restoration Theory

1.1.1. How is Heritage Preserved?
1.1.2. Who is Responsible for its Maintenance?
1.1.3. Steps to Follow for its Maintenance
1.1.4. Evolution Over Time
1.1.5. Current Criteria

1.2. Museum Curator

1.2.1. Description of a Museum Curator
1.2.2. Steps to Follow to Become a Museum Curator
1.2.3. Deontology
1.2.4. Functions

1.3. Methodology for the Diagnosis of the State of Conservation of Cultural Assets

1.3.1. What are Assets of Cultural Interest?
1.3.2. Cultural Properties or Assets of Cultural Interest
1.3.3. Guide of Conservation of the Assets of Cultural Interest
1.3.4. Alteration and Agents of Deterioration

1.4. Methods of Analysis and Study of Materials and Techniques

1.4.1. Definitions of the Method and Technique
1.4.2. Scientific Analysis
1.4.3. Techniques to Study the Historic-Artistic Heritage
1.4.4. Cleaning and Consolidation of Assets of Cultural Interest

1.5. Criteria for Intervention in Restoration and Conservation I

1.5.1. Definition of Criteria
1.5.2. Emergency Interventions
1.5.3. Plans to Protect Fine Arts Collections
1.5.4. Plans to Protect Ethnographies

1.6. Criteria for Intervention in Restoration and Conservation II

1.6.1. Plans to Protect Archaeological Remains
1.6.2. Plans to Protect Scientific Collections
1.6.3. Plans to Protect Other Intangible Cultural Heritage Elements
1.6.4. Importance of Restoration

1.7. Problems for Conservation of Assets of Cultural Interest

1.7.1. What does Conservation Involve?
1.7.2. Conservation Problems
1.7.3. Criteria to Carry out a Cultural Heritage Restoration
1.7.4. Rehabilitation of Assets of Cultural Interest

1.8. Preventive Conservation of the Cultural Heritage

1.8.1. Concept

1.8.1.1. What is Preventive Conservation?

1.8.2. Methods
1.8.3. Techniques
1.8.4. Who is Responsible for the Conservation?

1.9. Study of the Context of Cultural Property and Heritage Collections I

1.9.1. What is the Valuation of Cultural Assets?
1.9.2. Materials Used in the Conservation of Tangible Assets and Heritage Collections
1.9.3. Storage
1.9.4. Exhibition

1.10. Study of the Context of Cultural Assets and Heritage Collections II

1.10.1. What is Involved and Who is in Charge of Packaging?
1.10.2. Packaging of Cultural Property and Heritage Collections and Heritage Collections
1.10.3. Transport of Cultural Property and Heritage Collections
1.10.4. Manipulation of Cultural Property and Heritage Collections and Heritage Collections

Module 2. Management of Museums, Art Galleries and Exhibitions

2.1. Museums and Art Galleries

2.1.1. The Evolution of the Concept of Museum
2.1.2. History of Museums
2.1.3. Content-Based Typology
2.1.4. Contents

2.2. Organization of Museums

2.2.1. What is the Function of a Museum?
2.2.2. The Core of the Museum: the Collections
2.2.3. The Invisible Museum: The Storerooms
2.2.4. The DOMUS Software: Integrated System Documentation and Museum Management System

2.3. Dissemination and Communication of the Museum

2.3.1. Exhibition Planning
2.3.2. Forms and Types of Exhibitions
2.3.3. Dissemination and Communication Areas
2.3.4. Museums and Cultural Tourism
2.3.5. Corporate Image

2.4. Management of Museums

2.4.1. Department of Management and Administration
2.4.2. Sources of Financing, Public and Private
2.4.3. Associations of Friends of Museums
2.4.4. The Store

2.5. Role of the Museum in the Information Society

2.5.1. Differences between Museology and Museography
2.5.2. Role of the Museum in Today’s Society
2.5.3. Information and Communication Technologies at the Service of the Museum
2.5.4. Applications for Mobile Devices

2.6. The Art Market and the Collectors

2.6.1. What is the Art Market?
2.6.2. The Art Trade

2.6.2.1. Circuits
2.6.2.2. Markets
2.6.2.3. Internationalisation

2.6.3. The Most Important Art Fairs in the World

2.6.3.1. Structure
2.6.3.2. Organisation

2.6.4. Trends in International Collecting

2.7. Art Galleries

2.7.1. How to plan an Art Gallery
2.7.2. Functions and Constitution of Art Galleries
2.7.3. Towards a New Typology of Galleries
2.7.4. How Galleries are Managed?

2.7.4.1. Artists
2.7.4.2. Marketing
2.7.4.3. Markets

2.7.5. Difference among Museums, Exhibition Halls and Art Galleries

2.8. Artists and their Exhibitions

2.8.1. Recognition of the Artist
2.8.2. The Artist and their Work
2.8.3. Copyright and Intellectual Property
2.8.4. Awards and Opportunities

2.8.4.1. Contests
2.8.4.2. Scholarships
2.8.4.3. Awards

2.8.5. Specialized Journals

2.8.5.1. Art Critic
2.8.5.2. Cultural Journalism

2.9. The Motives of Culture

2.9.1. What Culture Represents
2.9.2. What Culture Offers
2.9.3. What Culture Needs
2.9.4. Promote Culture

2.10. Basis for Didactic Museography in Art Museums

2.10.1. Art Exhibitions and Museums: The Differential Fact
2.10.2. Some Evidence and Opinions on All This: From Boadella to Gombrich
2.10.3. Art as a Convention Set
2.10.4. Art Inscribed in Very Specific Cultural Traditions
2.10.5. The Art in the Museums and in the Spaces of Heritage Presentation
2.10.6. Art and Didactics
2.10.7. The Interactivity as Didactic Resource in the Art Museums

Module 3. Cultural Documentation: Cataloging and Research

3.1. Documentation of a Museum

3.1.1. What Is the Documentation of a Museum?
3.1.2. What is the Purpose of a Museum?
3.1.3. Museums as a Collection Center of Documentation
3.1.4. Documentation Related to Museum Objects

3.2.  Information Management and its Practical Application

3.2.1. Description of the Information Management
3.2.2. Information Management Origins and Development

3.2.2.1. 20th century
3.2.2.2. Currently

3.2.3. Tools for Management Information
3.2.4. Who Can be in Charge of the Information Management?

3.3. Documentary System I

3.3.1. Archive Documentary Content

3.3.1.1. Archive in Document Management
3.3.1.2. Importance of the Documentary Archives

3.3.2. Duties of the Personnel in Charge of the Documentary Archive
3.3.3. Documentary Instruments

3.3.3.1. Records
3.3.3.2. Inventory
3.3.3.3. Catalog

3.4. Documentary System II

3.4.1. Documentation

3.4.1.1. Graph
3.4.1.2. Technique
3.4.1.3. Restoration

3.4.2. Documentary Movements and Funds
3.4.3. Administrative Documentation and Filing

3.5. Documentary Standardization

3.5.1. Terminological Control Tools

3.5.1.1. Hierarchical Lists
3.5.1.2. Dictionaries
3.5.1.3. Thesauri

3.5.2. Quality Standards
3.5.3. ICT Applications

3.6. Museum Investigation

3.6.1. Theoretical Framework
3.6.2. Documentation vs. Investigation
3.6.3. Information Management Processes

3.7. Dissemination Platforms of Collections and Projects

3.7.1. Transmission of Knowledge
3.7.2. Social Media
3.7.3. Media

3.8. Education in the Context of Heritage and Museums

3.8.1. Didactics of Museums
3.8.2. Role of the Museums and Galleries in Education
3.8.3. Theoretical Framework of Learning

3.8.3.1. Formal
3.8.3.2. No formal
3.8.3.3. Informal

3.9. Mediation and Participatory Experiences

3.9.1. Education for Equality and Integrity
3.9.2. Proposals of Awareness and Respect for the Environment
3.9.3. Sociomuseology

3.10. Divisions of Education and Cultural Action

3.10.1. History
3.10.2. Structure
3.10.3. Functions

Access a program that will lead you to become the next manager of the most relevant museum in your city. Enroll now”