Lyon. Just like the Louvre-Lens which recently celebrated its 10th anniversary, the Musée des Confluences (opened in 2014) in Lyon has quickly become part of the French museum landscape. Inspired by an interdisciplinary approach, it combines natural history, civilizations and social issues, thus moving away from classic fine arts museums. This is partly due to its history, heir to the former Natural History Museum of Lyon, the Guimet Museum of Lyon, the former Colonial Museum and various collections. And like the Louvre-Lens (a fine arts museum), the Confluences favor a narrative and popular approach to mounting its exhibitions.
Ten years after its inauguration, the museum is posting remarkable attendance figures: 700,000 visitors in 2024, a return to pre-pandemic levels. Nearly two thirds of visitors come from the Auvergne-Rhône-Alpes region, highlighting its local roots while attracting a national audience. This attendance generates substantial revenue: in 2023, ticketing revenues amounted to 2.8 million euros, supplemented by those from privatizations, concessions, such as the restaurant, and partnerships. Until 2022, the car park also brought in 500,000 euros, but its closure was offset by the recent creation of a new car park nearby.
Despite this commercial income, the museum remains dependent on the subsidy from the Métropole de Lyon, which covers 70% of its budget (€14.4 million). This dependence, however, did not prevent the museum from generating positive operating results, reaching 1.9 million euros in 2023, after 1.3 million euros in 2021, a year marked by the pandemic. Like the Musée du quai Branly, the Confluences have outsourced a large part of the reception, security and maintenance services.
The building, designed by Coop Himmelb(l)au, continues to meet the needs of the museum. Although some adjustments are planned, such as replacing the elevators, Hélène Lafont-Couturier, director since the prefiguration phase in 2011, emphasizes its functionality. The director wishes to maintain programming exploring themes linked to the planet, civilizations and social issues. In 2025, a major exhibition on the Amazon is expected in April, confirming this editorial line. Furthermore, the museum aims to become a more welcoming space for families, particularly children and adolescents. Hélène Lafont-Couturier, wishes to plant (“This is my fight”) the square considered too inhospitable, and increase the familiar dimension of the museum to make it a place of daily life. It would like to be able to be renewed in 2025 to complete its mission.
