Calculating the CO₂ footprint of exhibitions at M: “These measurements are just the first step”

Calculating the CO₂ footprint of exhibitions at M

“These measurements are just the first step”

Measurement is the key to knowledge – and we know that at M. We have recently begun calculating the CO₂ emissions of our exhibitions with a new tool. Benedicte Dierickx and Tijmen Bruyndonckx from M’s Eco Team explain.

Benedicte: “Up until 2023, we only calculated the CO₂ emissions from energy consumption in our buildings – which, incidentally, have already fallen significantly. But that’s not the only source of this greenhouse gas. Hence this new initiative.”

“We are using the GCC Carbon Calculator: a free online tool for estimating the CO2 emissions of art galleries and museums. It includes shipping, heating and lighting, conference travel, and much more. It also allows us to measure the ecological footprint of materials, such as wood, paint, carpets and packing supplies.”

Still life with apples and pears

“The first exhibitions we measured with the tool were ‘Dieric Bouts. Creator of Images’ and ‘ALIAS’. They occupied more or less the same rooms, but that’s where the similarities ended. The Bouts exhibition comprised many international loans, many of which travelled by air from the United States. With ‘ALIAS’, the loans were more local and we could combine transports. Partly as a result, the total CO₂ emissions were about three times lower than for ‘Dieric Bouts. Creator of Images’.”

Tijmen: “We’re currently measuring the emissions of two exhibitions. For ‘Art that Moves’, we expect most of the emissions to come from materials – the pieces are from our own collection, so transport is not a factor. For ‘Grace Schwindt. A History of Touch’, it will probably be the other way around: more transport, fewer materials.”

“Every exhibition is different. This makes it difficult to correlate the CO₂ emissions – it’s a bit like comparing apples and pears. Nevertheless, these measurements are important. We will soon have four benchmarks: the CO₂ emissions of four exhibitions, each with a different profile. We can build on that.”

Beeld achter de schermen tijdens de opbouw van de expo Kunst die binnenkomt in museum M Leuven — © Elias Derboven voor M Leuven

Digital couriers

Benedicte: “Measuring is just the first step. We want to further reduce emissions – that’s the aim. This can be achieved by reusing, repurposing or recycling materials; by combining transports; or by working with reusable crates for shipping. We negotiate this with our carriers and lenders.”

“We are also striving to limit the number of journeys, particularly by air. Our analysis shows that 29% of the CO₂ emissions from the Bouts exhibition came from courier flights. When an artwork travels to an exhibition, they are often accompanied by a professional from the lending institution. They initially travel to help install the work before returning to collect it – four journeys in total.”

‘When we lend our own artworks, we try to use digital processes wherever possible – M’s experts can provide instructions online. This practice, known as digital couriering, was popularized during the coronavirus pandemic, although it’s not always feasible for delicate items.

Achter de schermen bij de opbouw van een tentoonstelling in museum M Leuven — © Elias Derboven voor M Leuven

Achter de schermen bij de opbouw van de expo Kunst die binnenkomt — © Elias Derboven voor M Leuven

Naar een duurzaam museum: het Ecoteam van M — © Elias Derboven voor M Leuven

Achter de schermen bij de opbouw van de expo Kunst die binnenkomt in museum M Leuven — © Elias Derboven voor M Leuven

Tendering criteria

Benedicte: “When practical, we also incorporate sustainability into our tender documents. This enables us to take it into account when awarding a contract to an external supplier. However, this is not viable for every tender. The sustainability gains must be measurable.”

Tijmen: “Things are often much less black and white when it comes to putting theory into practice. At M, we adopt a pragmatic approach. Integrating sustainability into daily operations works far better than a top down approach.”

Benedicte: “The Eco Team was launched in 2013. Some colleagues were hesitant at first: working more sustainably? Fine, but isn’t it going to be time-consuming and costly? With the Eco Team, we inform and raise awareness. And it’s catching on: while there’s still some ignorance, everyone understands the importance of sustainability.”

Tijmen: “We’ve already made great headway. We’ve replaced our diesel delivery van with an electric model, for example, and we use a cargo bike for short journeys.”

“But those are the quick wins. Tackling the big guzzlers – especially energy – takes more time. For instance, we’ve long wanted to switch to energy-efficient LED lighting, but it’s a tricky issue. Our fixtures are custom-made, and museum lighting has to meet high standards. At home, you can quickly pop to the shop for a few bulbs, but here it’s more complicated.”

To be continued

Tijmen: “Every exhibition is temporary by definition, so adopting a more sustainable approach is far from straightforward. All museums struggle with this, but we’ve noticed that external colleagues often approach us for advice. It’s encouraging, although we know there’s still a long way to go.”