Instagram accounts hacked

Building design
Portrait of Dr. Hu- go Koller (1918; Belvedere

Portrait of Dr. Hu- go Koller (1918; Belvedere

Museums want to go where their audience is. And that includes Instagram. For many museums, the social media platform is therefore an important communication channel – but also a security vulnerability. In recent weeks, the Instagram accounts of various institutions have been hacked, particularly in the Swabian region The Kunstmuseum Stuttgart issued a warning at the beginning of February this year: its Instagram account was apparently hacked by criminals […]

Museums want to go where their audience is. And that includes Instagram. For many museums, the social media platform is therefore an important communication channel – but also a security vulnerability. In recent weeks, the Instagram accounts of various institutions have been hacked, particularly in the Swabian region

The Kunstmuseum Stuttgart issued a warning at the beginning of February this year: its Instagram account had apparently been hacked by criminals. But what is their aim in stealing data? Instead of information about the museum, a request to click on a number appears. The museum therefore warned on its website and social media channels: “Please do not click on the WhatsApp number provided”. “We have no control over what happens when you contact this number,” says Isabel Kucher, the museum’s spokesperson. She was the first to realize that the account had been hacked and that the museum no longer has any influence over what is published there.

“Fortunately, we were able to post the warning ourselves,” reports Isabel Kucher. The State Office of Criminal Investigation took care of the matter. The account has been reactivated since last Saturday. “We received a message from Facebook that we could take the account back and then introduced two-factor authentication.” The art museum also contacted Meta, the operator of Facebook and Instagram. Kucher has a suspicion as to why hackers were interested in the art museum, which is not a company but an educational and cultural institution: “Hackers only see that an account has a lot of followers.”

Dangers of cyber attacks

Museums are places of images and communication – so it is hardly surprising that most art institutions are now on the Instagram photo platform, where they also reach an audience that is not necessarily traditional museum-goers. The fact that this online presence also harbors the dangers of cyber attacks is something that several museums whose Instagram accounts have been hacked are currently experiencing. Stuttgart is apparently not an isolated case, as something similar has also happened to the Kunstmuseum Ulm and the Schauwerk Sindelfingen.

The takeover of the accounts

The museums affected had follower numbers in the four-digit range, which is still quite modest by influencer standards. Nevertheless, an art museum loses important communication channels and years of work if an account cannot be restored. The takeover of the accounts is apparently linked to a private message that allegedly comes from Instagram and is supposed to confirm the verification of the account. As with Facebook and Twitter, you can “prove” the authenticity of a profile on the platform as a public person or institution by ticking a blue box.

Beware of phishing links

According to the Kunstmuseum Stuttgart and the Schauwerk Sindelfingen, the museums had indeed previously requested such a tick. However, the link provided in the message was apparently a so-called phishing link, clicking on which granted the hackers access to the profile. Messages with suspicious links were also sent to followers from the accounts of the affected institutions. The institutions warn against opening these messages. For example, the Museum Ulm calls on its website to report any messages about the account directly to Instagram as suspicious or harmful. The Hamburger Kunstverein, whose profile was also hacked, also lost contact with 20,000 followers at the beginning of February.

Profile thefts are widespread

The profile thefts fit familiar phishing patterns that are widespread in the context of cybercrime. The perpetrators prefer to use the chat function integrated in the respective apps/applications to send phishing messages. For example, Instagram’s ‘Private Message’ or Facebook’s ‘Facebook Messenger’. However, phishing messages are also sent by email or via other messenger services such as Whatsapp.

Outside the access of those responsible

Authentication requests from platform operators are often imitated in order to ask those affected to “verify” their data and redirect them to phishing pages. The Instagram profile of the Berlin photo center C/O (around 94,000 followers) was also hacked at the beginning of the year and was out of the reach of those responsible for around a week. “It’s an unpleasant situation because you don’t know whether content is being spread through the account that we have nothing to do with,” says Magnus Pölcher, Head of Communications at C/O Berlin. “That can be very damaging to an institution’s reputation.”

The public is also on Instagram

For the exhibition venue, however, the story ended on a light note. The team called in a media lawyer and made persistent efforts to contact Instagram and Meta. In the end, the requests were successful and the company restored the account including all followers. Since the coronavirus lockdowns and the increasing shift of museum content to the internet, there has been increasing discussion of the problem that public institutions are also making themselves dependent on private companies such as YouTube, Meta or TikTok through their digital activities, which are difficult to reach in the event of damage. However, suggestions for better protected museum platforms on their own initiative have not yet been implemented on a large scale. In addition, many players would probably find it difficult to do without Instagram. After all, museums increasingly want to go where their audience is. And that is largely on Instagram.

Reading tip: Eike Schmidt, Director of the Uffizi Gallery in Florence, relies on social media strategies to attract a young audience. Recently, the well-known Italian influencer Chiara Ferragni posed in front of Botticelli’s “The Birth of Venus.

POTREBBE INTERESSARTI ANCHE

Pritzker Prize, this time again as a star award

Building design

Arata Isozaki, that is. This year. Born in 1931, the architect, urban planner and theorist was awarded the 2019 Pritzker Prize. And reactions are mixed.

Arata Isozaki, that is. This year. Born in 1931, the architect, urban planner and theorist has been awarded the Pritzker Prize 2019. And reactions are mixed. Once again. Some are surprised that the man, whose well-known buildings (such as the Museum of Contemporary Art in Los Angeles or the Olympic Stadium in Barcelona) have all been standing for a while, had not received the major prize long ago. Others find the choice sensible; but some also find it rather unnecessary – why honor someone whose work is nearing its end, why not rather choose someone for whose (or whose) work the award can be a driving force? My colleagues in the editorial team reacted rather bored.

I think the Pritzker jury needs to make up its mind when it comes to award policy. At the moment, too many different motives seem to exist in parallel. Is this an award for a significant life’s work? For interesting offices that may be the future? For relevant political approaches? Each direction on its own is possible. All together is probably not.

And incidentally, I stand by the opinion I expressed two years ago: the Pritzker Prize is awarded too often. Every three, or even better, every four years would be a more sensible frequency.

Nevertheless, this should not go under: Congratulations, Arata Isozaki.

Online series: The future of building culture – Statement by Ralph-Uwe Johann

Building design
Ralph-Uwe Johann, owner and managing director of Deffner & Johann, Röthlein

Ralph-Uwe Johann, owner and managing director of Deffner & Johann, Röthlein

What contribution can heritage conservation and restoration science make in view of the worsening climate situation, the scarcity of resources and the energy crisis? We asked experts from various disciplines to comment on this. Read the statement by Ralph-Uwe Johann, owner and managing director of Deffner & Johann, Röthlein, here

What contribution can heritage conservation and restoration science make in view of the worsening climate situation, the scarcity of resources and the energy crisis? We asked experts from various disciplines to comment on this. Read the statement by Ralph-Uwe Johann, owner and managing director of Deffner & Johann, Röthlein, here

Multiple crises are currently forcing us to rethink. There are pandemics, floods, forest fires and war. How do we want to live and build in the future? We are facing many new challenges that require complex considerations and solutions. And it is precisely here that the knowledge and skills of the diverse and interdisciplinary field of heritage conservation are in demand. What contribution can heritage conservation and restoration science make in view of the worsening climate situation, the scarcity of resources and the energy crisis? We asked experts from various disciplines about this. You can read the answers in our new online series Zukunft Baukultur. Every week, we publish a specialist statement on www.restauro.de. Here isthe statement from Ralph-Uwe Johann, owner and managing director of Deffner & Johann, Röthlein

In view of the worsening climate situation, scarcity of resources and energy crisis, both specialist retailers and manufacturers are increasingly responsible for selling ecologically compatible products and providing information on correct and resource-saving processing. Deffner & Johann also sets this standard for itself and, with a view to environmental protection, tries to offer environmentally conscious solutions whenever possible. Conservation and restoration can make a significant contribution to the sustainable use of resources. The preservation and conversion of existing monuments offer enormous potential for saving building materials and energy as well as reducing CO2 emissions.

Furthermore, materials in their traditional use are often significantly more sustainable when the entire life cycle is considered. Traditional binder systems, such as lime or linseed oil, not only offer an advantageous eco-balance, but are also often more resource-efficient in terms of production and maintenance. A few years ago, these were still considered complicated to work with compared to “convenience products” from the building materials industry and were removed from the curricula of technical colleges. Today, they are often regarded as modern or innovative in Europe and presented by leading planners and architects as a solution for sustainable construction. Specialist companies in the preservation and restoration of historical monuments could even contribute their knowledge advantage in the processing of corresponding products. As an internationally active specialist wholesaler for materials, tools and equipment in the field of restoration and monument conservation, we also always ensure that transport is optimized for the supply chain and that resources are used in an environmentally conscious manner.