EUROVISION MUSEUMS EXHIBITING EUROPE - THE E-BOOK by miguelferreirafeio

EuroVision – Museums Exhibiting Europe

EUROVISION – MUSEUMS EXHIBITING EUROPE (EMEE) THE E-BOOK

EDITED BY THE EMEE CONSORTIUM CONCEPT AND REALISATION MÁRIO ANTAS MAFALDA RAMOS MIGUEL FEIO

USER GUIDE In this e-book you will find icons that open interactive content: (Note: to access some of the hyperlinks you will need an internet connection.)

Image Gallery/Slideshow

Video

Augmented Reality (AR) — Use it also in the e-book cover.

How to use Augmented Reality (AR) – Aurasma 1

Download Aurasma Lite App for iPhone/iPad, from the AppStore, or for Android from the Play Store.

Open Aurasma in your device and search for the 'EMEE' channel. Then, choose Follow.

Point your devide at the trigger images with the icon and watch the images come to life with video or other content.

Interact with the content by touching the screen or the buttons in your device.

Download this e-book in alternative formats: PDF and HTML.

This e-book is based primarily on the EMEE website and on Schumann, J., Popp, S., Mayer-Simmet, O., Schilling, S. and Wolf, D. (2016), The EU Project ‘Museums Exhibiting Europe’ (EMEE): Ideas, Results, Outlooks, Vienna: edition mono/monochrom.

EUROVISION â&#x20AC;&#x201C; MUSEUMS EXHIBITING EUROPE T HE E - BOOK

This project has been funded with the support of the Culture Programme of the European Union. This publication reflects the views only of the author, and the Commission cannot be held responsible for any use which may be made of the information contained therein.

CHAPTER 1 CHAPTER 2 CHAPTER 3 CHAPTER 4 CHAPTER 5

‘EuroVision – Museums Exhibiting Europe (EMEE). The E-book’ is an interactive tool with links to external sources. It is intended to be a useful practice manual for museum professionals, museum study students and all (ongoing) experts in the field of cultural heritage, providing working strategies and inspiration to re-interpret the museum objects on site in a new transregional and European way, to modify the relation between museum experts and visitors, and to foster international exchange and cooperation. The e-book is a practical tool that can be downloaded, printed, or forewarded. There should be a theoretical and practical framework of the EMEE project, integrating the COP concept, the EuroVision Lab.s and the EMEE-Toolkits; This e-book provides a comprehensive overview of the theoretical foundations and of the many outcomes of the EMEE-project. Due to the hypertext references the user / reader can immediately access and follow his individual interests while navigating through the presentation.

EUROVISION – MUSEUMS E XHIBITING EUROPE (EMEE)

ABOUT THIS PUBLICATION

CHAPTER 1: THE EMEE PROJECT AND IT'S GOALS

DEFINITIONS AND ITS GOALS

THE PROJECT CONSORTIUM

CONSULTANTS OF THE EMEE PROJECT

WORKING GROUP PARTNERS

ASSOCIATED PARTNERS

THE PROJECT PHASES

THE ‘CHANGE OF PERSPECTIVE’ (COP) CONCEPT

‘EUROPEANIZATION’ OF LOCAL, REGIONAL AND NATIONAL HISTORY MUSEUMS 53

CHAPTER 2: EMEE OUTCOMES

INTRODUCTION

MAPPING PROCESS

BRIDGING-THE-GAP

THE EMEE TOOLKITS AND EXEMPLARY COP-UNITS

THE EMEE WORKSHOPS AND THE EMEE STUDY MODULE

YOUNG SCENOGRAPHERS CONTEST

EUROVISION LAB.S

EUROVISION LAB. BULGARIA

EUROVISION LAB. PORTUGAL

104

EUROVISION LAB. SLOVENIA

109

EUROVISION LAB. AUSTRIA

115

CHAPTER 1 CHAPTER 2 CHAPTER 3 CHAPTER 4

GREETINGS 9 EDITORIAL 11

CHAPTER 5

EUROVISION – MUSEUMS E XHIBITING EUROPE (EMEE)

INDEX

EUROVISION LAB. FRANCE

119

EUROVISION LAB. GERMANY

124

EUROVISION LAB. ITALY

128

EMEE PUBLICATIONS

133

THE EVALUATION OF THE EMEE CONCEPT BY MUSEUM EXPERTS

137

CHAPTER 3: USEFUL TIPS - BEST PRATICE IN MUSEUMS

143

PRACTICAL EXAMPLES ABOUT ACTIVITIES DEVELOPMENT CONCERNING THE CHANGE OF PERSPECTIVE AND NON-VISITORS

143

BULGARIA - NATIONAL MUSEUM OF HISTORY, SOFIA

144

SLOVENIA - NATIONAL MUSEUM OF CONTEMPORARY HISTORY, LJUBLJANA

163

PORTUGAL - NATIONAL MUSEUM OF ARCHAEOLOGY, LISBON

174

CHAPTER 4: DISSEMINATION

183

PRESS RELEASES

183

NEWSLETTERS

186

FLYERS

187

EMEE FILMS AND PROMOTION CLIPS

188

FURTHER EMEE PUBLICATIONS FOR FREE DOWNLOAD

189

CONCLUSION 191

OUTCOMES AND THE FUTURE PATHS

191

GLOSSARY

195

IMPRESSUM

197

CHAPTER 1 CHAPTER 2 CHAPTER 3 CHAPTER 4

The International Council of Museums’ (ICOM) definition of ‘museum’, which is held throughout the world, obliges museums to act in the service of society. Besides its mandate to preserve the material and immaterial cultural heritage, this, above all, includes the historical and cultural mediacy of the past. In contrast to other educational institutions, museums are uniquely characterized by processing and promoting information, knowledge as well as insight through historical, cultural and naturalhistory objects and collections. Especially since the objects, in addition to their material value, become sign bearers through interpretation and presentation, they have potential for far-reaching meaning. They are supposed to help stimulate discussion, allow the evaluation of historical and societal developments and reflect important topics of the past on a higher level of abstraction. Ultimately, the museums and therewith also cultural policy want to achieve the strengthening of identities in this way and improve the people's understanding of the present so as to be able to shape the future. Museums today want to work inclusively in order to reach a broad audience; they want to be a forum for societal dialogues so as to meet different experiences and perspectives; they want to be places of enlightenment and reconciliation. Their work is supposed to have sustainable effects and thereby embed societal values among the population. However, do museums manage to reach people in a technologically and socially rapidly changing world? Are the exhibition topics, exhibition

CHAPTER 5

EUROVISION – MUSEUMS E XHIBITING EUROPE (EMEE)

GREETINGS

designs and ways of mediacy on offer already everywhere developed in a way which brings about the desired success? Museums and their staff seek the dialogue among each other – in our increasingly globalised world also internationally; they need support, suggestions, and exchange. Thankfully, the European Union provides programmes for the international dialogue of museums and universities so that applications can be developed that are meant to help the cultural institutions to be able to carry out their societal task. The project ‘EuroVision – Museums Exhibiting Europe’ is a milestone in this development; the Toolkits are of valuable assistance on the way to meet the challenges of educational policy in the 21st century. Prof. Dr. Hans-Martin Hinz, Berlin President of the International Council of Museums (ICOM) (2010-2016)

CHAPTER 1 CHAPTER 2 CHAPTER 3 CHAPTER 4

The International Council of Museums’ (ICOM) definition of ‘museum’, which is held throughout the world, obliges museums to act in the service of society. Besides its mandate to preserve the material and immaterial cultural heritage, this, above all, includes the historical and cultural mediacy of the past. In contrast to other educational institutions, museums are uniquely characterized by processing and promoting information, knowledge as well as insight through historical, cultural and naturalhistory objects and collections. Especially since the objects, in addition to their material value, become sign bearers through interpretation and presentation, they have potential for farreaching meaning. They are supposed to help stimulate discussion, allow the evaluation of historical and societal developments and reflect important topics of the past on a higher level of abstraction. Ultimately, the museums and therewith also cultural policy want to achieve the strengthening of identities in this way and improve the people's understanding of the present so as to be able to shape the future. Museums today want to work inclusively in order to reach a broad audience; they want to be a forum for societal dialogues so as to meet different experiences and perspectives; they want to be places of enlightenment and reconciliation. Their work is supposed to have sustainable effects and thereby embed societal values among the population. However, do museums manage to reach people in a technologically and socially rapidly changing world? Are the exhibition topics, exhibition

CHAPTER 5

EUROVISION – MUSEUMS E XHIBITING EUROPE (EMEE)

EDITORIAL

s LEM – the Learning Museum Network A defines it the EMEE project understands ‘museums not only as learning places, but learning organisations themselves: learning from the communities, from the public, from their stakeholders, and also from other agencies, with whom they build alliances to accomplish the ambitious objectives set by policies at national and European level and meet the challenges of the future decades’. http://www.ne-mo.org/about-us/the-lemnetwork.html, Accessed 11 August 2016.

CHAPTER 1 CHAPTER 2 CHAPTER 3 CHAPTER 4

THE STARTING POINT OF THE PROJECT The increasingly fast and at times quite controversial processes of European integration as a result of dynamic globalization are drawing more and more attention to the growing complexity of the social, political, and cultural living conditions that the citizens of Europe are facing. The local, regional, national, and European dimensions of social, political, and cultural life are often so closely interconnected and intertwined and thus confusing and challenging for many citizens that it may lead to social disorientation and alienation. For example, strong tendencies to separation, marginalization, intolerance, and xenophobia have arisen in many societies across Europe over the last years. While, of course, these alarming developments stem from a variety of reasons, it should not be underestimated that there seems to exist a certain desire for simplification that is mistakenly expected to reconstitute a clear sense of social direction and a strong sense of cultural identity. In view of the status quo, museums, being the guardians of a nation’s cultural heritage, need to rethink their social role and become institutions that further the question of how the cultural heritage they preserve could function as a socio-cultural resource to facilitate orientation in today’s world and contribute to improve social integration in Europe.1 Such a function is possible due to the fact that Europe’s cultural heritage shares this wide-ranging complexity that is characteristic

CHAPTER 5

EUROVISION – MUSEUMS E XHIBITING EUROPE (EMEE)

THE EMEE PROJECT (2012-2016): INTRODUCTION AND OVERVIEW

The project ‘EuroVision – Museums Exhibiting Europe’ (2012-2016) was funded by the Culture Programme of the European Union. It was initiated and coordinated by the Chair of History Didactics of the University of Augsburg and implemented by eight project partners who had an interdisciplinary background and came from seven European countries. The aim of the project was to develop museums further firstly through a multi-layered re-interpretation of museum objects from a transregional/European perspective and secondly with the help of innovative approaches of conveying the contents. Thereby, the project coordinators’ expectation was that especially national and regional museums would be inspired to try out new ideas and concepts that would promote a modern and contemporary outlook of museums in today’s multicultural society.

of today’s world. This is true even if this complexity is often lost, overlooked, or obscured by the exhibition displays of city, regional or national history museums that emphasize a one-dimensional interpretation of their collections in line with the (reputed) characteristic features of the local, regional or national cultural identity the respective museum is dedicated to. As a consequence of this practice, the museums in question miss a unique opportunity to evolve into a stimulating, protected, and neutral space where a wide audience is encouraged to explore, in a joyful way, the multiple layers of meaning of the exhibited objects by experiencing firsthand a Change of Perspective. REVEALING THE MULTI-LAYERED MEANINGS OF OBJECTS ‘This project gives the museums opportunities to make objects talk through different perspectives and that is very important because a museum is a place where different points of view have to be shared.’ David Vuillaume, Network of European Museum Organisations

f. Macdonald, S. J. (2003) ‘Museums, C national, postnational and transcultural identities’, Museum and Society, 1 (1), 1-16. Baur, J. (2013) ‘Museum and Nation’, in F. Lanz,, L. Basso Peressut et al. (eds) European Museums in the 21st Century: Setting the Framework, MeLa books vol. 2, 331-341, Milano: Politecnico di Milano.

CHAPTER 1 CHAPTER 2 CHAPTER 3 CHAPTER 4 CHAPTER 5

EUROVISION – MUSEUMS E XHIBITING EUROPE (EMEE)

It is common knowledge that the collections displayed at city, regional or national history museums are always part not only of local, regional, or national, but also of European history. This is true even for many of those seemingly ‘typically local’ museum objects that can feature hidden contexts raising European issues through references to transregional exchanges, interactions, and cultural transfer within Europe and beyond. Furthermore, what we commonly call European history, culture and identity, is utterly inconceivable without acknowledging the impact of transcontinental and cross-cultural contacts and the assimilation and integration of foreign influences in the past and present that had a major influence in shaping the Europe we live in today. In this regard, there is an increasing awareness that unilateral (local, regional, national) interpretations of the cultural heritage do not meet historical demands and do not sufficiently correspond with contemporary sociocultural experience in Europe.2 However, a curator’s knowledge about the multi-layered meanings of an object will always be outweighed by the many different perceptions and interpretations of local visitors, who come from different backgrounds or are influenced by different cultural experiences. In order to fully exploit the varying meanings of cultural heritage, experts have to invite and encourage visitors to contribute their individual views on the collection on display, which will necessarily reflect their cultural memories and identities. Therefore, museums striving to evolve and seeking to create a social space that allows for an exploration of the multiplicity of meanings

of an object have to foster the visitors’ capacity for dealing with cultural complexity. In pursuing this goal, museums depend on interacting with various social communities that constitute, or should constitute, a museum’s audience. THE BASIC IDEA OF THE EMEE PROJECT The main objective of the EU-culture project ‘EuroVision – Museums Exhibiting Europe’ was to develop and explore a concept of (history) museum development that complies with the EU’s cultural policies that expect national cultural institutions to support the civil society of Europe. With this goal in mind, the EU’s cultural policy perspectives also ask history museums to contribute towards the integration of a multicultural Europe and to attract socially and culturally diverse audiences in order to reinvent the museum as an important social space where encounters with cultural heritage fosters social interaction, dialogue, and mutual understanding.3 While the EU recommends that museums take on an active role in society and strengthen European identity, the EMEE project started with two questions: 1. What implications could the aforementioned cultural policy perspectives carry for the many local,

regional, and national history museums across Europe whose collections do not explicitly engage with transregional or European history? 2. What kind of concept of a ‘European identity’ and of exhibiting ‘Europe’ could be right for those museums, which are often closely related to local and regional history, in the light of growing diversity across Europe’s multicultural societies? In order to be able to answer these two questions, the EMEE project drew on basic concepts that are used by the discipline of History Didactics, which is a scientific field of research concerned with teaching history in schools and conveying history in public and which distinguishes between the following areas of specialization: historical culture, historical consciousness, and historical identity. The research of the History Didactics addresses the question of how ‘European identity’ could be conceptualized by underlining the idea of complex and multi-layered identities that consist of different parts and comprise, for example, a local, national and European identity all at once. Thus, History Didactics prefers a concept of cultural identity that acknowledges the complexity of identity references and the diversity of historical experiences in

THEORY AND PRACTICE With regard to its practical implementation, the COP concept implies that the project focused on working with ‘traditional’ history museums and their existing collections. While the methodological approach was mainly theoretical, the project placed great emphasis on the practical exploration of the guiding ideas.

f. Rüsen, J. (2002) ‘Europäisches C Geschichtsbewusstsein als Herausforderung an die Geschichtsdidaktik‘ [Historical Consciousness in Europe as Challenge for History Didactics], in M. Demantowsky and B. Schönemann (eds) Neue geschichtsdidaktische Positionen, 57-64, here: 62, Bochum: projekt verlag. 5 Cf. Bergmann, K. (1997) ‘Multiperspektivität‘, in K. Bergmann and K. Fröhlich et. al. (eds) Handbuch der Geschichtsdidaktik, 301-303, Seelze4

Velber: Kallmeyer.

CHAPTER 1 CHAPTER 2 CHAPTER 3 CHAPTER 4 CHAPTER 5

EUROVISION – MUSEUMS E XHIBITING EUROPE (EMEE)

Europe. It could be said that the discipline perceives ‘European identity’ primarily as willingness and ability to accept the complexity of identities and to acknowledge the cultural diversity by dealing with it in a way that is consistent with the principles of mutual understanding, reciprocal recognition and tolerance.4 The other basic idea that forms a fundamental principle of the EMEE concept is closely connected to the notion of compound and differing identities and the constitution of identity: Different layers of identity constructions can only be uncovered and critically reflected on if it is possible to take different views and perspectives on regional and national experiences, interpretations, evaluations and historical identities. Multi-perspectivity, becoming acquainted with or exploring new, possibly unfamiliar points of view, allows us to realize that there may be more than just once stance on an issue, which could be challenging and eyeopening at once.5 The EMEE concept of Change of Perspective (COP) is based on these assumptions and represents the theoretical framework that museums can draw on when incorporating the EU’s policies and exploring how museums can take on a new role in the future.

Testing the concept’s viability in a practical setting was considered as an essential part of the EMEE project. Finally, to ensure the sustainability of the results, the EMEE project created a modular scheme of development that allows the ‘evolving’ museums in question to find their own way – step by step and in due consideration of their particular conditions and possibilities – to gain a multi-perspective, transregional re-interpretation of their existing collections and to attract new visitor groups in order to integrate their perspectives. This, then, is what corresponds to the EMEE’s ‘EuroVision’ of museums in the 21st century. The EMEE coordination team Susanne Popp, Susanne Schilling, Oliver Mayer-Simmet, Jutta Schumann

EMEE… — worked with history museums that had no pre-existing link to European or transnational history — worked with existing local collections — combined the development of theoretical strategies with practical experience and put a strong focus on practical applicability — created a modular concept of museum development that helps museums find their own way in line with their specific conditions, requirements and priorities — was based on the fundamental concepts of History Didactics that provide multi-layered and differing notions of meaning and identity – the Change of Perspective (COP).

‘Welcome to the EMEE project‘ brochure Download [PDF]

CHAPTER 1 CHAPTER 2 CHAPTER 3 CHAPTER 4

The ‘Euro Vision – Museums Exhibiting Europe’ (EMEE) project explores an innovative interdisciplinary approach for national and regional museums to re-interpret their objects in a broader context of European and transnational history. The necessary theoretical and practical framework is developed, put into practice and evaluated by an international, transsectoral network bringing together the creative excellence of (history) museums and cultural workers in a project based on the scientific expertise of history didactics in mediating culture. The project 'Euro Vision – Museums Exhibiting Europe' (20122016) was funded by the Culture Programme of the European Union. It was initiated and coordinated by the Chair of History Didactics of Augsburg University and implemented by eight interdisciplinary project partners from seven European countries. The aim of the project was to advance the modernization of museums by re-interpreting museum objects and topics from a trans-regional European perspective as well as by innovative mediating approaches. Thereby, the project coordinators’ expectation was that especially national and regional museums would be inspired to try out new ideas and concepts that would promote a modern and contemporary outlook of museums in today’s multicultural society. The project was focused on the following target groups: museum professionals, scientists and university specialists, experts for mediating

CHAPTER 5

THE GOALS OF THE EMEE-PROJECT

C H A P T E R 1: T H E E M E E P R O J E C T A N D I T ' S G O A L S

CHAPTER 1: THE CONCEPT AND GOALS OF THE EMEE-PROJECT

culture and museum studies, scenographers, music designers and cultural producers (including history teachers). The EMEE project provides ideas and concepts that can help to attract non-visitors to cultural offerings (bridging-the-gap), shows ways to change the role of museums in the society (social arena), and shows ways how to invite so called non-visitors. It was one of the focus points of the EMEE project to bring the non-visitors and the museums closer, inviting them to start a multicultural dialog. The main objective of the EU-culture project ‘EuroVision – Museums Exhibiting Europe’ was to develop and explore a concept of (history) museum development that complies with the EU’s cultural policies that expect national cultural institutions to support the civil society of Europe. With this goal in mind, the EU’s cultural policy perspectives also ask history museums to contribute towards the integration of a multicultural Europe and to attract socially and culturally diverse audiences in order to reinvent the museum as an important social space where encounters with cultural heritage fosters social interaction, dialogue, and mutual understanding.1 While the EU recommends that museums take on an active

role in society and strengthen European identity, the EMEE project started with two questions: 1. What implications could the aforementioned cultural policy perspectives carry for the many local, regional, and national history museums across Europe whose collections do not explicitly engage with transregional or European history? 2. What kind of concept of an ‘European identity’ and of exhibiting ‘Europe’ could be right for those museums, which are often closely related to local and regional history, in the light of growing diversity across Europe’s multicultural societies? In order to be able to answer these two questions, the EMEE project drew on basic concepts that are used by the discipline of history didactics, which is a scientific field of research concerned with teaching history in schools and conveying history in public and which distinguishes between the following areas of specialization: historical culture, historical consciousness, and historical identity. The research of the discipline History Didactics addresses the question of how ‘European identity’ could be conceptualized by underlining the idea of complex and multi-layered

CHAPTER 1 CHAPTER 2 CHAPTER 3 CHAPTER 4 CHAPTER 5

f. for example Kaiser, W., Krankenhagen, C S. and Poehls, K. (2012), Europa ausstellen. Das Museum als Praxisfeld der Europäisierung, 53-57, Köln/ Weimar/ Wien: Böhlau Verlag. 2 Cf. Rüsen, J. (2002), ‘Europäisches Geschichtsbewusstsein als Herausforderung an die Geschichtsdidaktik‘ [Historical Consciousness in Europe as Challenge for History Didactics], in Demantowsky, M. and Schönemann, B. (eds), Neue geschichtsdidaktische Positionen, 57-64, here: 62, Bochum: projekt verlag. 3 Cf. Bergmann, K. (1997) ‘Multiperspektivität‘, in Bergmann, K. and Fröhlich, K. et. al. (eds), Handbuch der Geschichtsdidaktik, 301-303, SeelzeVelber: Kallmeyer. 1

C H A P T E R 1: T H E E M E E P R O J E C T A N D I T ' S G O A L S

identities that consist of different parts and comprise, for example, a local, national and European identity all at once. Thus, history didactics prefers a concept of cultural identity that acknowledges the complexity of identity references and the diversity of historical experiences in Europe. It could be said that the discipline perceives ‘European identity’ primarily as willingness and ability to accept the complexity of identities and to acknowledge the cultural diversity by dealing with it in a way that is consistent with the principles of mutual understanding, reciprocal recognition and tolerance.2 The other basic idea that forms a fundamental principle of the EMEE concept is closely connected to the notion of compound and differing identities and the constitution of identity: Different layers of identity constructions can only be uncovered and critically reflected on if it is possible to take different views and perspectives on regional and national experiences, interpretations, evaluations and historical identities. Multi-perspectivity, becoming acquainted with or exploring new, possibly unfamiliar points of view allows us to realize that there may be more than just once stance on an issue, which could be challenging and eye-opening at once.3 The EMEE concept of Change of Perspective (COP) is based on these assumptions and represents the theoretical framework that museums can draw on when incorporating the EU’s policies and exploring how museums can take on a new role in the future.

THE PROJECT CONSORTIUM The EMEE project is supposed to be realised by a European interdisciplinary and trans-sectional consortium, led by the University of Augsburg in Germany (Chair of History Didactics) and composed by excellent partners from Bulgaria (National History Museum),

France (ESPÉ de l’académie de Créteil-UPEC), Germany/Stuttgart (Atelier Brückner), Italy (Università degli Studi Roma Tre), Portugal (Museu Nacional de Arqueologia), Slovenia (National Museum of Contemporary History) and Austria (monochrom Kunstverein).

Partner 1: Germany University of Augsburg

Partner 2: Germany ATELIER BRÜCKNER

Partner 3: Bulgaria National Museum of History

Partner 4: France ESPÉ de l’académie de Créteil-UPEC

Partner 5: Italy Università Degli Studi Roma Tre

Partner 6: Portugal Museu Nacional de Arqueologia

Partner 7: Slovenia National Museum of Contemporary History

Partner 8: Austria Kunstverein monochrom

Credits: Â© Kerstin Halm, monochrom

23 CHAPTER 5

CHAPTER 4

CHAPTER 3

CHAPTER 2

CHAPTER 1

C H A P T E R 1: T H E E M E E P R O J E C T A N D I T ' S G O A L S

In the German academic context the discipline of ‘History Didactics’ is a fully acknowledged science that investigates the field of historical culture and historical identity in present societies. Therefore the Chair of History Didactics (about 1000 students & 10 staff members) is involved not only in teacher education but also in various B.A. and M.A. courses in the field of historical culture. It has a strong focus on museum studies, e.g. with the M.A. ‘Mediating Culture’, and on further training courses of the ‘Bavarian Museum Academy’ (Munich). The main research topics of the Chair are, among others, the Europeanisation of national history and museums, the principles of multiperspectivity and controversy in dealing with historical culture and mediating culture in museums and exhibitions.

General view of Augsburg University. Photos: © University of Augsburg

CONTACT

University of Augsburg Department for History Didactics Universitätsstraße 10 86159 Augsburg Germany Phone: +49 (0)821-598-5837 E-mail: susanne.popp@philhist.uni-augsburg.de Website: http://www.philhist.uni-augsburg.de /de/lehrstuehle/geschichte/didaktik Main contact person: Prof. Dr. Susanne Popp

Photo: LWL-Museum of Archeology, Herne 2003, by ATELIER BRÜCKNER Photographer: Stefan Brentführer

Photo: Rautenstrauch-Joest-Museum, Cologne 2010, by ATELIER BRÜCKNER Photographer: Michael Jungblut

Phone: +49 (0) 711 5000 77-151 or +49(0)711500077113 E-mail: linda.greci@atelier-brueckner.com Website: http://www.atelier-brueckner.com Main contact person: Linda Greci Prof. Uwe R. Brückner

CHAPTER 1 CHAPTER 2 CHAPTER 3 CHAPTER 4

Photo: Rautenstrauch-Joest-Museum, Cologne 2010, by ATELIER BRÜCKNER Photographer: Michael Jungblut

Atelier Brückner GmbH Krefelderstraße 32 70376 Stuttgart Germany

CHAPTER 5

CONTACT

C H A P T E R 1: T H E E M E E P R O J E C T A N D I T ' S G O A L S

Since the foundation in 1997 Atelier Brückner has been well established in the European exhibition design and installation art sector. It develops concepts, designs, planning and construction of exhibition architecture, graphics, light and media. Its philosophy is based on an interdisciplinary work ethic: the atelier represents 72 staff members of twelve different professions: from architects, stage and set designers, interior designers, light designers, graphic designers, filmmakers, theatre directors, communication to dramatic advisers and art historians. The Atelier designs ‘Raumbilder‘, spaces generated out of content by communicating content in fascinating ways, generating atmospheres, producing spatial installations that all result from sophisticated dramaturgies.

The National Museum of History (NMH) is the national treasury of the Republic of Bulgaria, a depository of relics with international importance and one of the largest museums of history on the Balkan Peninsula. The museum discovers, preserves, restores, exhibits and popularises archaeological and historical materials related to Bulgarian history in the context of European heritage for the period between the 5th millennium BC to contemporary time. It preserves more than 650 000 cultural monuments and an enormous historical archive. The objects can be linked to seven large European civilisations, which left their mark on the Bulgarian lands (Prehistorical, Ancient Greek, Thracian, Roman, Byzantine, Bulgarian and Ottoman civilisations).

Photo: ÂŠ National Museum of History, Bulgaria

CONTACT

National Museum of History Vitoshko lale str. 16 1618 Sofia Bulgaria Phone: +359 (0) 29554290 or +359 (0) 29554280 E-mail: petarstef@yahoo.com Website: http://www.historymuseum.org Main contact person: Petar Stefanov

ESPÉ de l’académie de Créteil-UPEC Rue Jean Macé 94380 Bonneuil-sur-Marne France Phone : +33 (0)1 49 56 3 700 or +33(0)1 49 56 3 830 E-mail: christophe.lefrancois@u-pec.fr Website: http://www.u-pec.fr Main contact person: Prof. Dr. Christophe Le François

Photos: © ESPÉ de l’académie de Créteil-UPEC

CHAPTER 1 CHAPTER 2 CHAPTER 3 CHAPTER 4

CONTACT

CHAPTER 5

C H A P T E R 1: T H E E M E E P R O J E C T A N D I T ' S G O A L S

The ESPÉ de l’académie de Créteil-UPEC is the institution in charge of initial and in-service teacher training of the Créteil (Seine-et-Marne, Seine-Saint-Denis, Val-de-Marne) Education Authority. It is able to support and improve the relationships between schools, museums and (non)-visitors. The Université Paris-Est Créteil is an education institution (graduate school) for advanced undergraduate and graduate studies and a specialist in the field of development of intercultural concepts of ‘bridging-the-gap’ activities directed at (non)-visitors and in designing creative, modern ways for the younger audience to get a grasp of the European cultural heritage in the museum.

The Department of Educational Design at the faculty of Education of Roma Tre hosts the CDM (Museum Education Centre), which was set up in 1994 to encourage a more conscious and targeted use of museum heritage. Since its foundation the Centre has been working on systematic surveys of the activities carried out in the field of museum education, on the training of museum professionals at university level and on experimental researching in collaboration with Italian and foreign museums.

CONTACT

University Roma Tre, Università Degli Studi Department of Educational Design Via della Madonna dei Monti 40 00184 Roma Italy Phone: + 39 (0) 657 339 666 or + 39 (0) 657 339 642 E-mail: nardi@uniroma3.it Website: http://www.uniroma3.it and http://www.diped.it Main contact person: Full Prof. Emma Nardi

Photos: © University Roma Tre, Università Degli Studi

National Museum of Archaeology Praça do Império, 1400 – 206 Lisboa Country: Portugal Phone: +351 (0) 21 362 00 00 or +351 (0) 21 362 00 27 E-mail: marioantas@mnarqueologia.dgpc.pt Website: http://www.museuarqueologia.pt Main contact person: Prof. Dr. Mário Antas

Photos: © National Museum of Archaeology, Portugal

CHAPTER 1 CHAPTER 2 CHAPTER 3 CHAPTER 4

CONTACT

CHAPTER 5

C H A P T E R 1: T H E E M E E P R O J E C T A N D I T ' S G O A L S

The National Museum of Archaeology (MNA) founded in 1893, is a reference institution of Portuguese archaeology that is in regular correspondence with museums, universities and research centres all over the World. Besides the exhibitions, the Museum offers several other services to the society like the conservation and restoration of archaeological artefacts, the organisation of seminars, conferences and courses on special topics and the implementation of an educational and cultural service. The mission of MNA is to care for the history of the settlement of Portuguese territory, from the beginning to the founding of the nation. The museum recently won the best practice award of the Committee for Education and Cultural Action (CECA) of the International Council of Museums (ICOM) with Mario Antas’ project ‘Network of archaeology clubs in schools’ (www.clubesdearqueologia.org).

The National Museum of Contemporary History is the central national institution for research of the contemporary history of Slovenia from 1914 until today. The historical material covers the periods: World War I, the interwar period (1918-1941), the World War II (1941-1945) the period of socialism (1945-1990) and the period of independent Slovenia (after 1991). The Museum's basic mission is to acquire, document, preserve, research and promote materials related to contemporary Slovenian history. In addition to its exhibitions, the Museum also offers a variety of programmes for both children and adults. It carries out activities in the field of culture, education and research, collaborating with various institutions, and thus serves as a bridge between the general public and historical science. The Museum also serves as a gathering place for groups of all kinds and as a place for dialogue and reflection. It not only answers questions, but it also raises questions and assists visitors in their search for answers, forming a type of partnership in which the Museum serves as a dynamic, innovative and welcoming establishment.

Photos: © National Museum of Contemporary History, Slovenia

CONTACT

National Museum of Contemporary History Celovška cesta 23 1000 Ljubljana Slovenia Phone: +386 (0)1 300 96 10 or +386 (0)1 300 96 11 or +386 41222297 E-mail: kaja.sirok@muzej-nz.si Website: http://www.muzej-nz.si Main contact person: PhD Kaja Širok

Monochrom Kunstverein Zentagasse 31/8 1050 Wien Austria Phone: + 43 (0) 650 / 2049451 E-mail: guenther.friesinger@univie.ac.at Website: http://www.monochrom.at Main contact person: Mag. Günther Friesinger

Photos: © Monochrom Kunstverein, Austria

CHAPTER 1 CHAPTER 2 CHAPTER 3 CHAPTER 4

CONTACT

CHAPTER 5

C H A P T E R 1: T H E E M E E P R O J E C T A N D I T ' S G O A L S

The ‘Künstlergruppe monochrom’ (art group monochrom) is an interdisciplinary, cultural non-profit association founded in 1994 in Vienna that is committed to civil society. It operates at the interface between art, music, museum, science and journalism, and works with different media and art formats with a focus on developing a digital art community. Overall, the internationally networked artists’ association has put into more than 100 interdisciplinary projects (in particular exhibitions and festivals) into practice so far. The principle of multi-perspectivity of medial access to artistic and societal topics is a characteristic part of the basic concept of the shared artistic work. Among other things the association has organised the festival ‘Roböxotica’ since 2002, and it organises a television talk show for the Viennese community TV as well. The association is located in Vienna’s museum quarter.

CONSULTANTS OF THE EMEE PROJECT Prof. h.c. Dr. Hans-Martin Hinz President of the International Council of Museums (ICOM) (2010-2016) General secretariat Maison de l’Unesco 1, rue Miollis 75732 Paris cedex 15 France Tel.: +33 (0) 1 47 34 05 00 Fax: +33 (0) 1 43 06 78 62 Website: www.icom.museum

Dr. Wolfgang Thiel Bavarian Research Alliance GmbH Prinzregentenstr. 52 80538 Munich Germany Tel.: +49 (0) 89 9901 888 – 0 Fax: +49 (0) 89 9901 888 – 29 E-Mail: thiel@bayfor.org Website: www.bayfor.org

Prof. Dr. Stefan Krankenhagen Leader of the research project ‘Exhibiting Europe. The Development of European Narratives in Museums, Collections and Exhibitions’ (2008-2011) Institut für Medien, Theater und Populäre Kultur Stiftung Universität Hildesheim Marienburger Platz 22 31141 Hildesheim Germany Tel. +49 (0) (0)5121 883699 Website: www.uni-hildesheim.de/ index.php?id=7531

During the duration of the project, a total of 140 museums and institutions became partners of the network. Out of these, 85 network members committed themselves to contribute directly to the EuroVision Lab.s, which means that, to give an example, they committed themselves to

CHAPTER 1 CHAPTER 2 CHAPTER 3 CHAPTER 4 CHAPTER 5

From the beginning of the project, one of the most important tasks of the EMEE partners was to build up a EMEE network that would continue to last long after the end of the project. The EMEE network consists of museums and institutions related to the museum field that share an interest in the EMEE concepts and are keen to continue to catch up or exchange views on this topic, or intend to draw on the ideas of the EMEE project to implement similar projects.

C H A P T E R 1: T H E E M E E P R O J E C T A N D I T ' S G O A L S

THE EMEE NETWORK

implement an Exemplary COP-Unit for the re-interpretation of a museum object from a transregional/European perspective or to develop their own unit, to host an EMEE touring exhibition or to launch a participatory museum initiative (‘bridging-the-gap’) on behalf of the EMEE project. The other 55 network members were able to benefit from the EMEE workshops and training sessions for museum staff; they contributed to the dissemination process and became involved in discussing project ideas and their implementation. Analyzing the chart shows that the network partners did not only take an active part in the dissemination of the EMEE project, but, more importantly, they contributed directly to the implementation of the Lab.s (47), they participated in the workshops on the Tool-

kits (41) and launched initiatives for the acquisition of new visitor groups (25; ‘bridging-the-gap’ activities). Thus, the network fulfilled several important tasks over the project period of four years: It contributed to and facilitated working on the project ideas collaboratively, it strengthened the cooperation between museums and museum-related institutions and it streamlined the dissemination of the EMEE concepts. However, similar importance was given to the evaluation of the experiences that the network museums on-site had gained from the EMEE workshops and their own EMEE projects. After all, this made it possible for feedback and suggestions from the network museums to be integrated into the EMEE concept.

INTERDISCIPLINARY COOPERATION OF THE EMEE PARTNERS

Credits: Â© Kerstin Halm, monochrom

35 CHAPTER 5

CHAPTER 4

CHAPTER 3

CHAPTER 2

CHAPTER 1

C H A P T E R 1: T H E E M E E P R O J E C T A N D I T ' S G O A L S

EMEE NETWORK OF ASSOCIATED PARTNERS This kind of cooperation is focused on the swop of ideas concerning the Europeanization and modernization of museums. Possible partners are: institutions, associations, individual experts, other projects; museum professionals, educators, scenographers, artists, cultural workers or performers, representatives of museum studies or mediating culture, museums associations, etc. The EMEE project offers to it's partners the possibility to: — subscribe to the EMEE newsletter information about EMEE activies and results; — be presented on the EMEE website with your contact details; — have your name or logo printed on some EMEE publications and dissemination materials; — receive an invitation to the EMEE meetings and workshops and be an active participant (self-financed).

Acte de Naissance - Galerie L'H du Siège (L'H du Siège Gallery) Pascal Pesez (Director), Philippe Bétrancourt (President) 15 rue de l'hôpital de Siège 59300 Valenciennes France Phone: (+33) 03 27 36 06 61 E-mail: hdusiege@free.fr http://www.hdusiege.org AHTA (Albania History Teacher Association) 'Youth and History' Fatmiroshe Xhemalaj Maliq Muça, Pall. 46; Shk. 1; Ap. 13 1000 Tirana Albania Phone: (+69) 66 99 693 E-mail: fatmirax@yahoo.it

Phone: (+359) 2 9308464 Fax: (+359) 2 8464085 E-Mail: silvianikolaevabg@abv.bg http://www.ciino.website.bg Contemporary art gallery, Auvers-sur-Oise Laurent Olivier, Director of culture Maison de l'ile Service culturel de la ville d'Auverssur-Oise rue Marcel Martin 95430 Auvers-sur-Oise France

Phone: (+49) 0234 5877219 Fax: (+49) 0234 5877111 E-mail: cornelia.bockrath@bergbaumuseum.de http://www.bergbaumuseum.de DHM â&#x20AC;&#x201C; Deutsches Historisches Museum (German Historical Museum) Prof. Dr. Alexander Koch Unter den Linden 2 10117 Berlin Germany Phone: (+49) 030 20 30 41 01 E-mail: praesident@dhm.de http://www.dhm.de

Phone: (+33) 01 34 48 00 10 E-mail: laurent.olivier95@orange.fr http://www.ville-auverssuroise.fr/expositions

CHAPTER 1 CHAPTER 2 CHAPTER 3 CHAPTER 4

Deutsches Bergbau-Museum Dr. Cornelia Bockrath Am Bergbaumuseum 28 44791 Bochum Germany

CHAPTER 5

C H A P T E R 1: T H E E M E E P R O J E C T A N D I T ' S G O A L S

Center for Interdisciplinary Research and Innovations (CIINO) University of Sofia, St. Kliment Ohridski Prof. Silvia Nikolaeva Tsar Osvoboditel 15 1000 Sofia Bulgaria

DOMiD - Dokumentationszentrum und Museum über die Migration in Deutschland e.V. Arnd Kolb Venloer Straße 419 50825 Cologne Germany Phone: (+49) 0221 800 28 30 Fax: (+49) 0221 800 28 31 E-mail: info@domid.org http://www.domid.org/de DRAC de Bourgogne Michel Prestreau (Adjoint au Directeur pour les Patrimoines) 49 rue de Longvic 21000 Dijon France Phone: (+33) 380685020 Fax: (+33) 380685098 E-mail: michel.prestreau@culture.gouv.fr http://www.culturecommunication.gouv.fr/Regions/ DRAC-Bourgogne

espace36 Benoit Warzée, director 36 rue Gambetta 62500 Saint-Omer France Phone: (+33) 3 21 88 93 70 E-mail: espace36@free.fr http://espace36.free.fr EUROCLIO – European Association of History Educators Riouwstraat 139 The Hague Zuid Holland 2585HP Netherlands Phone: (+33) 3 21 88 93 70 E-mail: espace36@free.fr http://www.euroclio.eu

Faculty of Arts, Department of Ethnology and Cultural Anthropology Bojan Baskar, PhD Zavetiška 5 1000 Ljubljana Slovenia Phone: (+386) 1 241 15 20 Fax: (+386) 1 423 44 97 E-mail: eika@ff.uni-lj.si http://etnologija.etnoinfolab.org/sl/informacija.asp?id_ meta_type=71

Phone: (+43) 316 5453-8625 E-mail: Karl.Stocker@fh-johanneum.at http://www.fh-joanneum.at/aw/home/ Studienangebot_Uebersicht/ department_medien_ design/~czd/ind/?lan=de Fondazione Biblioteca Archivio 'Luigi Micheletti' René Capovin Via Cairoli 9 25122 Brescia Italy Phone: (+39) 030 48578 Fax: (+39) 030 45203 E-mail: micheletti@fondazionemicheletti.it http://www.fondazionemicheletti.eu

CHAPTER 1 CHAPTER 2 CHAPTER 3 CHAPTER 4 CHAPTER 5

Phone: (+359) 2 871 32 86 Phone: (+359) 2 871 32 86 E-mail: evterpani@abv.bg http://evterpani.blogspot.com/

FH Joanneum Informationsdesign, Media and Interaction Design, Ausstellungs- und Museumsdesign Univ.-Doz. Dr. Karl Stocker Alte Poststraße 152 8020 Graz Austria

C H A P T E R 1: T H E E M E E P R O J E C T A N D I T ' S G O A L S

'Evterpani' Association Ania Kravaeva Hristo Smirnenski 31 Sofia 1574, Slatina Bulgaria

FRAC Bourgogne Astrid Handa-Gagnard (museum director) 49 rue de Longvic 21000 Dijon France

ICOM CECA Prof. Emma Nardi Via della Madonna dei Monti 40 00184 Rome Italy

Phone: (+33) 380671818 Fax: (+33) 380663329 E-mail: administration@frac-bourgogne.org http://www.frac-bourgogne.org/

Phone: (+39) 06 5733 9666 Fax: (+39) 06 5733 9642 E-mail: cinzia.angelini@uniroma3.it http://icom.museum/the-committees/internationalcommittees/international-committee/internationalcommittee-for-education-and-cultural-action/

Galerie 379 Myriam Librach 381 Avenue de la libĂŠration 54000 Nancy France Phone: (+33) 6 87 60 82 94 E-mail: association379@wanadoo.fr http://www.association-379.wix.com/association-379/

International Society for History Didactics (ISHD) Susanne Popp UniversitĂ¤tsstr. 10 86159 Augsburg Germany Phone: +49 (0) 821 598 5556 Fax: +49 (0) 821 598 14 5556 E-mail: susanne.popp@philhist.uni-augsburg.de Website: http://ishd.co

Phone: (+44) 191 208 5283 Fax: (+44) 191 208 5564 E-mail: susannah.eckersley@ncl.ac.uk http://www.ncl.ac.uk/sacs/icchs/index.htm KulturAgenda â&#x20AC;&#x201C; Institute for museums, cultural enterprises and audiences Albertgasse 41/6 1080 Vienna Austria Phone: (+439) 699 10189291 E-mail: office@kulturagenda.at or michael.knopp@kulturagenda.at http://www.kulturagenda.at

Phone: (+44) 01483 737801 Fax: (+44) 01483 764369 E-mail: marilyn.scott@thelightbox.co.uk http://www.thelightbox.co.uk MeLa* European Museums in an age of migrations Dr. Francesca Lanz, Assistant of Project Coordinator DAStU-Politecnico di Milano Piazza Leonardo da Vinci 32 20133 Milano Italy Phone: (+39) 22399 5547 E-mail: mela-info@polimi.it http://www.mela-project.eu

CHAPTER 1 CHAPTER 2 CHAPTER 3 CHAPTER 4

The Lightbox Marilyn Scott Chobham Road Woking, Surrey GU21 4AA United Kingdom

CHAPTER 5

C H A P T E R 1: T H E E M E E P R O J E C T A N D I T ' S G O A L S

International Centre for Cultural & Heritage Studies Newcastle University Dr Susannah Eckersley 18 Windsor Terrace Newcastle upon Tyne NE1 7RU United Kingdom

Miera|Bluche Ausstellen*Sammeln*Partizipieren Dr. Frauke Miera Dr. Lorraine Bluche Lobeckstr. 30-35 10969 Berlin Germany Phone: (+49) 30 69004520 E-mail: info@miera-bluche.com http://www.miera-bluche.com MOMA S.p.a. Carmine Capozzi Via Aldo Moro, 1/P 84081 Baronissi (SA) Italy Phone: (+39) 089954135 Fax:(+39) 089951475 E-mail: salerno@unisa.it (Professor Salerno) http://www.momanet.it/index.php?lang=it

MPZ – Museumspädagogisches Zentrum, Germany Dr. Josef Kirmeier Infanteriestraße 1 80797 München Germany Phone: (+49) 89 12 13 23 00 Fax: (+49) 89 12 13 23 02 E-mail: kirmeier@mpz.bayern.de http://www.mpz.bayern.de/ Museum für Druckkunst Leipzig – Museum of the Printing Arts Leipzig Dr. Susanne Richter Nonnenstraße 38 04229 Leipzig Germany Phone: (+49) 341 231 62 0 E-mail: info@druckkunst-museum.de http://www.druckkunst-museum.de

National Museum of Montenegro Miloš Vukanovic Novice Cerovica 8125 Cetinje Montenegro Phone: (+382) 68 067 047 Fax: (+382) 41 230 310 E-mail: milosvukanovic86@gmail.com or nmcg@t-com.me http://www.mnmuseum.org/

Phone: (+43) 676 847200600 E-mail: office@paraflows.at http://www.paraflows.at/ The Radovljica Municipality Museums Verena Štekar-Vidic Linhartovtrg 1 4240 Radovljica Slovenia Phone: (+386) 04 5320 520 Fax: (+386) 04 5320 524 E-mail: verena.vidic@siol.net http://www.muzeji-radovljica.si

CHAPTER 1 CHAPTER 2 CHAPTER 3 CHAPTER 4

paraflows Mag. Sonja Sagan Museumsplatz 1 1070 Vienna Austria

CHAPTER 5

Phone: (+46) 46 222 9567 Fax: (+46) 46 222 4794 E-mail: ulf.johansson_dahre@soc.lu.se http://www.luhm.lu.se

C H A P T E R 1: T H E E M E E P R O J E C T A N D I T ' S G O A L S

Historical Museum of the University of Lund, Sweden Prof. Dr. Ulf Dahre, Department of Sociology Box 114 221 00 Lund Sweden

SCCA, Center for Contemporary Arts – Ljubljana Dušan Dovc Metelkova 6 1000 Ljubljana Slovenia Phone: (+386) 1 431 83 85 Fax: (+386) 1 430 06 29 E-mail: info@scca-ljubljana.si http://www.scca-ljubljana.si School of Museum Studies University of Leicester Dr Suzanne MacLeod 19 University Road Leicester LE1 7RF United Kingdom Phone: (+44) 0116 2523963 E-mail: museum.studies@le.ac.uk http://www2.le.ac.uk/departments/museumstudies

Sdruzhenie Azbukari (СДРУЖЕНИЕ АЗБУКАРИ) Tsveta Kirilova Tsarichina 1 1000 Sofia Bulgaria Phone: (+35) 9882881901 E-mail: office@azbukari.org http://www.azbukari.org/ Seeking Traces: Hall in Motion Resarch and Exhibition on Labor Migration in the Region of Hall in Tyrol (1960’s until today) BMWF/ 'Sparkling Science' Research project, Austria ass. Prof. Mag. Dr. Dirk Rupnow, Project Director Universität Innsbruck, Institut für Zeitgeschichte Innrain 52d 6020 Innsbruck Austria Phone: (+43) 512 507 4407 E-mail: dirk.rupnow@uibk.ac.at http://www.sparklingscience.at/en/projekte/520spurensuche-hall-in-bewegung/

Slovenian Museum Society Verena Štekar-Vidic Linhartovtrg 1 4240 Radovljica Slovenia Phone: (+386) 04 5320 520 (+386) 04 5320 524 E-mail: smr-drustvo@guest.arnes.si http://www.smd-drustvo.si

Phone: (+33) 0663992246 E-mail: info@travesias.fr http://www.travesias.fr Travesías foundation Chantal Bideau Rue hippolyte lucas 2 35000 Rennes France Phone: (+33) 0663992246 E-mail: info@travesias.fr http://www.travesias.fr

CHAPTER 1 CHAPTER 2 CHAPTER 3 CHAPTER 4

Travesías association Chantal Bideau Rue hippolyte lucas 2 35000 Rennes France

CHAPTER 5

Phone: (+386) 2 2352 603 E-mail: aleksandra.berberih-slana@mnom.si http://www.sms-muzeji.si/

C H A P T E R 1: T H E E M E E P R O J E C T A N D I T ' S G O A L S

Slovene Museum Association/ Skupnost Muzejev Slovenije Dr. Aleksandra Berberih Slana Prešernova ulica 20 1000 Ljubljana Slovenia

University of East Anglia, United Kingdom School of Education and Professional Development Prof. Dr. Terry Haydn Earlham Road NR4 7TJ Norwich East-Anglia United Kingdom Phone: (+44) 1603 59 3150 Fax: (+44) 1603 593446 E-mail: T.Haydn@uea.ac.uk http://www.uea.ac.uk Universitat de Girona Sergi Bonet Plaça Sant Domènec, 3, Edifici Les Àligues 17071 Girona Spain Phone: (+34) 972418046 /(+34) 972419844 (Rector’s phone); (+34) 972418318 (Roser Juanola’s phone) Fax: (+34) 972418031 E-mail: roser.juanola@udg.edu http://www.udg.edu/

University of Ljubljana Academy of fine arts and design Prof. Boštjan Botas Kenda Erjavceva cesta 23 1000 Ljubljana Slovenia Phone: (+386) 1 420 25 00 Fax: (+386) 1 251 90 71 E-mail: dekanat@aluo.uni-lj.si http://www.aluo.uni-lj.si/ University of Ljubljana, Faculty of Arts, Department of Art History University of Ljubljana, Faculty of Arts, Department of Art History Katja Mahnič Aškerčeva 2 1000 Ljubljana Slovenia Phone: (+386) 040 473 834 Fax: (+386) 01 241 12 11 E-mail: katja.mahnic@guest.arnes.si http://oddelki.ff.uni-lj.si/umzgod/English/index-eng.htm

University of Nova Gorica University of Nova Gorica Prof. Dr. Danilo Zavrtanik, Rector Vipavska cesta 13 5000 Nova Gorica Slovenia Phone: (+386) 5 331 5 324 Fax: (+386) 5 620 5 200 E-mail: info@ung.si http://www.ung.si/

Phone: (+44) 1173284232 E-mail: Penelope.Harnett@uwe.ac.uk http://www.uwe.ac.uk University of Wroclaw, Poland Institute of History Dr. hab Joanna Wojdon Ul. Szewska 49 50-139 Wroclaw Poland Phone: (+48) 713752520 Fax: (+48) 713436542 E-mail: joanna.wojdon@uni.wroc.pl http://www.hist.uni.wroc.pl

CHAPTER 1 CHAPTER 2 CHAPTER 3 CHAPTER 4

University of the West of England, United Kingdom Department of Education Prof. Dr. Penelope Harnett University of the West of England Frenchay Campus, Coldharbour Lane BS16 1QY Bristol United Kingdom

CHAPTER 5

Phone: (+39) 812535162 Fax: (+39) 812535163 E-mail: mghiara@unina.it http://www.musei.unina.it/mineralogia.php

C H A P T E R 1: T H E E M E E P R O J E C T A N D I T ' S G O A L S

Università di Napoli – Real Museo Mineralogico Maria Rosaria Ghiara Via Mezzocannone, 8 80134 Naples Italy

WORKGROUP MEMBERS The eight members of the EMEE consortium establish eight workgroups composed of other museums, associations, individual experts and other projects. The members of the workgroups are interested in the whole projects and its results and work closely together with the consortium. The workgroup members bring in their ideas to the project and want to implement or evaluate EMEE (interim) results. The following institutions are workgroup members (25/10/2016):

Archaeology Museum Dijon The Archaeology Museum in Dijon is one of the best museums in the city. It is home to massive collection of rare artefacts that have been collected from across the region and across the world. There are Celtic pieces that have been dated as far back as 950 BC as well as weapons, coins and ceramics from Roman times. The oldest part of the museum was built in the 11th Century. The collection is very popular with local people and visitors, attracting a good crowd throughout the year. Dijonâ&#x20AC;&#x2122;s Archaeological museum displays many culturally and historically significant artefacts including Celtic jewellery, items from the Romanesque period, Gothic items and more. One of the museumâ&#x20AC;&#x2122;s most prized objects is the bronze representation of the goddess Sequana, which dates back to the 1st century AD. Contact: Dijon Archaeological Museum Rue Docteur Maret 21000 Dijon France

Armenian Genocide Museum & Institut The Armenian Genocide Museum & Institute (AGMI) is a non-profit organization based in Yerevan, Republic of Armenia. The objectives of the Museum are as follows: — to promote the collection, study and presentation of the visual textual materials, including also artifacts, related to the life of the Western Armenians in the Ottoman Empire before and during the Genocide; — to develop more effective cooperation and collaboration among organizations worldwide involved in the research of genocide, particularly Armenian Genocide; — to create and develop and academic institution on Genocide Studies in the Republic of Armenia;

Contact: The Armenian Genocide Museum and Institute Tsitsernakaberd memorial complex, RA Armenia Yerevan 0028 Phone: (+374 10) 39 09 81 Fax: (+374 10) 39 10 41 E-mail: info@genocide-museum.am Website: http://www.genocide-museum.am/eng/ index.php Main contact person: Hayk Demoyan

Art Collections and Museums Augsburg The Art Collections and Museums Augsburg combine the Roman Museum with the urban archaeology,

CHAPTER 1 CHAPTER 2 CHAPTER 3 CHAPTER 4 CHAPTER 5

Main contact person: Christian Vernou

— to raise international awareness among the international community on the first Genocide of the 20th century defined initially as ‘a crime against humanity’; — to preserve and honor the Tsisternakaberd memorial complex of Genocide victims and the Tisernakaberd park.

C H A P T E R 1: T H E E M E E P R O J E C T A N D I T ' S G O A L S

Phone: (+33) 3 80 48 83 70 Fax: (+33) 3 80 48 83 71 E-mail: CVERNOU@ville-dijon.fr Website: http://www.dijon.fr/les-musees!0-35/ musee-archeologique!1-38/

the Maximilianmuseum, the Schaezlerpalais with the German Gallery of Baroque, the Collection of prints and drawings, the Mozart House, the New Gallery at the Höhmann Building as well as the H2-Centre for Contemporary Art in the Glass Palace. All institutions are situated in historic houses protected as historic monuments, which were reshaped as museums. The Roman Museum offers a profound overview on Roman history and civilization in the region of Bavarian Swabia. Currently it is hosted by the former Armoury of Augsburg. The Maximilianmuseum is the parent house of the Art Collections and Museums Augsburg. It exhibits world-class arts and crafts as well as sculptures made in Augsburg. In 2007 it was awarded the Bavarian Museums Award. The Schaezlerpalais houses the municipal collections of paintings and graphics as well as the administration of the Art Collections and Museums Augsburg. Highlight is the Rococo ballroom, which is still conserved in its original condition from 1767. The Mozart House informs about the music of both father and son Mozart and about their journeys through Europe. The H2-Center for Contemporary Art in the Glass Palace is Augsburg’s municipal museum for

contemporary art. Exhibitions on current art are also shown in the New Gallery in the Höhmann House. Contact: Kunstsammlungen und Museen Augsburg Maximilianstraße 46 86150 Augsburg Phone: (+49) 821 324 4106 Website: www.kunstsammlungen-museen. augsburg.de Main contact person: Dr. Tilo Grabach

Art exprim Art-exprim is a non-profit association. Questioning the relationship between work of art, artist, publics and territory, it supports since 15 years art creation, production and distribution, in the public space and within its walls. It defends diversity of artistic languages and mediums. Art-exprim develops, in the public space, active mediation schemes which facilitate a coming-together of publics who reputedly have little access to culture and artists. The association provides also a creative laboratory within its

Phone: (+33) 01 42 62 18 08 E-mail: administration@art-exprim.com Website: www.art-exprim.com Main contact person: Sandrine Montagne

AWPA – Associação Welcome People & Arts The Association Welcome People&Arts is a non-profit association that develops and promotes cultural, artistic, educational and sporting activities as an instrument of social integration and inclusion. Looking for a more united and solidary world through talents, this association’s mission is to develop and promote cultural and artistic activities as a

Contact: AWPA – Associação Welcome People & Arts Rua da Saudade, n.º 23 – 4º Esq. 1100-582 Lisboa Portugal Phone: (+351) 968995197 E-Mail: welcome.people.arts@gmail.com Website: https://www.facebook.com/Welcome. people.and.arts?fref=ts Main contact person: Comandante Pedro Miranda de Castro

CHAPTER 1 CHAPTER 2 CHAPTER 3 CHAPTER 4 CHAPTER 5

Contact: Art exprim 89, rue Marcadet 75018 Paris

means of personal development and social inclusion. The AWPA believes in five principles: everyone has talent; all individuals prosper; cultural diversity is an asset; art is a key to a better education and culture is a tool for communication. Thus, developing innovative integration projects using art activities with local communities, this association conducts workshops and training sessions that promote social inclusion. Its aim is to develop community welfare and to help creating better societies, emphasizing the essence of each individual.

C H A P T E R 1: T H E E M E E P R O J E C T A N D I T ' S G O A L S

walls, offering the opportunity for a wider public to fully express its creativity. In order to expose children and teenagers to contemporary creation, it also interacts with Parisian schools.

Baths of Diocletian (Terme di Diocleziano) The Baths of Diocletian (Terme di Diocleziano) are the most imposing thermal complex ever built in Rome. Erected between 298 and 306 AC, they spanned more than 13 hectares and could accommodate up to 3000 people at the same time, within a structure consisting of a series of environments such as gymnasia, libraries, a swimming pool of more than 3500 square metres and those rooms that were the heart of every thermal complex: the frigidarium (cold bath), the tepidarium (lukewarm bath) and the calidarium (hot bath). It was precisely these latter spacious rooms the ones converted by Michelangelo into the Basilica of Saint Mary of the Angels and the Christian Martyrs: in the other environments arose the Carthusian Monastery, conceived by the artist himself. Contact: National Roman Museum – Baths of Diocletian MuseoNazionale Romano – Terme di Diocleziano Viale Enrico De Nicola79 00185 Rome Italy

Phone: (+39) 06 480201 Fax: (+39) 06 6787689. E-mail: ssba-rm@beniculturali.it Website: http://archeoroma.beniculturali.it/en/ museums/national-roman-museum-baths-diocletian Main contact person: Giuseppe Proietti

Centre Pompidou The National Centre for Art and Culture Georges Pompidou (CNAC-GP) is a public administrative institution (EPA) under the guardianship of the ministers for culture. The missions are: — To contribute to the enrichment of the nation’s cultural heritage; — Inform and educate the public; — Disseminate artistic creation; — Contribute to social communication; — Advise on request local authorities and all private and public organizations, particularly in the architectural field;

Phone: (+33) 1 44 78 49 17 E-mail: claire.couffy@centrepompidou.fr Website: http://www.centrepompidou.fr/ Main contact person: Claire Couffy

Centro Português de Geo-História e Pré-História (CPGP) The Centro Português de Geo-História e Pré-História (CPGP), founded in october 1993, was established as an association in 1995. Its aim is to develop research

Contact: Centro Português de Geo-História e Pré-História (CPGP) Praceta Campo das Amoreiras, Lote 1 – 2.º O 1750 – 021 Lisboa Portugal

CHAPTER 1 CHAPTER 2 CHAPTER 3 CHAPTER 4 CHAPTER 5

Contact: Centre Pompidou Place Georges-Pompidou 75191 Paris Cedex 04 France

and to disseminate its main scientific fields: Portuguese Geo-History and Prehistory. It develops its work around two major areas: scientific research in Paleontology and Archeology (field, office and laboratory research; collaboration with other institutions’ research works and partnerships with other organizations through protocols); dissemination activities (exhibitions and conferences in schools, museums and other public institutions, as well as publications on its research areas). In 2013, the CPGP opened the NIDAP (Núcleo de Investigação e Divulgação de Arqueologia e Paleontologia), through an agreement with the Municipality of Golegã, which provided CPGP the old facilities of a local school in the meanwhile converted into a space with a museum, a library and a research laboratory for Paleontology and Prehistoric Archeology.

C H A P T E R 1: T H E E M E E P R O J E C T A N D I T ' S G O A L S

— Operate and animation, in conjunction with private and public organizations associated with it, a cultural complex devoted to all forms of artistic creation

Phone: (+351) 962 997 654 E-Mail: cpgp@cpgp.pt Website: http://www.cpgp.pt

detail about the Fendt tractor factory which has had a great influence on our town. A separate section is devoted to women’s work in the 19th century. A collection of historical clothing closes the visit to the museum.

Main contact person: Professor Silvério Figueiredo

City museum Marktoberdorf The city museum Marktoberdorf offers visitors in 18 rooms and 380 square meters of exhibition space information illustrated in a clear and comprehensive way to make your museum visit a real experience. Here, history should not be perceived as a dead period of the past, but as an ongoing, living process. With an illustration of Roman life near the village of Kohlhunden the visitor is introduced to the world of the Alemanni. Following the themes of ‘market rights’ and ‘the period of the Prince-Bishops in Oberdorf’, the emphasis is then on the Elector Clemens Wenzeslaus, showing his great influence on the market town around 1800. More rooms show local developments in the 19th century, with art and religion, theater and music, as well as the impact of war, pestilence and hunger crises. The focus on handcraft and industry goes into

Contact: City museum Marktoberdorf Eberle-Kögl-Straße 11 87616 Marktoberdorf Germany Phone: (+49) 8342 4008 81 Fax: (+49) 8342 4008 65 E-mail: museen@marktoberdorf.de Website: www.marktoberdorf.de/index.php?id=313 Main contact person: Josephine Heddergott

Conservatoire National des Arts et Métiers – Musée des arts et métiers Established in 1794, under the tutelage of the French ministry for education, the Conservatoire des arts et métiers (CNAM) is a leading institute for Sciences and Technology Teaching and adult training, for RTD

Contact: Conservatoire National des Arts et Métiers – Musée des arts et métiers 292 St Martin 75141 Paris Cedex 03 France Phone:(+33) 1 53 01 82 88 Fax:(+33) 1 53 01 82 34 E-mail: muse-educ@cnam.fr Website: http://www.arts-et-metiers.net/

Contact: CoopCulture Corso del Popolo 40 30172 Venezia Mestre Italy

Main contact person: Jamila Al Khatib

CHAPTER 1 CHAPTER 2 CHAPTER 3 CHAPTER 4 CHAPTER 5

CoopCulture CoopCulture is the largest cooperative operating in the heritage and cultural activities sector in Italy. CoopCulture is a qualified partner positioned to offer answers and solutions to the increasingly complex needs of a continuously evolving sector, from the perspective of integration between cultural heritage and territory and between culture, tourism and local economy. With the intention of bringing diverse audiences closer to art, it has developed user paths differentiated by language and method, taking advantage of the potentials offered by new technologies and paying special attention to local communities in all of their aspects, families, young people, children, the elderly and immigrant communities.

C H A P T E R 1: T H E E M E E P R O J E C T A N D I T ' S G O A L S

in cooperation with industrial and research organizations, for science and technological knowledge dissemination with a worldwide collection. Each year, the Museum of the CNAM runs three major exhibitions, almost 500 events and conferences and attracts 250 000 visitors of which 30 % are young Europeans. Visitors could participate to many pedagogical activities, as workhops and guided tour.

Phone: (+39) 041 0991100 Fax: (+39) 041 0991120 E-mail: info@coopculture.it Website: http://www.coopculture.it/ Main contact person : Giovanna Barni

Projekt Dostopnost Ensuring the widest possible accessibility of cultural heritage: In order to include members of vulnerable social groups in museum work and following an initiative by the Ministry of Culture of the Republic of Slovenia we are developing the project ‘Accessibility of Cultural Heritage to Vulnerable Groups’. The Slovene Ethnographic Museum is fully aware that this is one of the fundamental goals of national and European cultural policy. Therefore we systematically ensure the accessibility of programme content to the widest possible public. The operation is partially financed by the European Union through the European Social Fund and the Ministry of Culture. The operation is implemented in the framework of the Operational Programme for

Human Resources Development in the period 20072013, development priority Equality of opportunity and promotion of social inclusion, priority cultural and social inclusion. The institutional coordinator of the project is Slovene Ethnographic museum. Six other national museums are participating in the project. Contact: Projekt Dostopnost/ Accessibility project Slovene Ethnographic Museum Metelkova ulica 2 1000 Ljubljana Slovenia Phone: (+386) 01 / 300 87 81 Fax: (+386) 01 / 30 08 736 E-mail: eva.rozanc@etno-muzej.si Website: http://www.dostopnost.eu/en Main contact person: Eva Rožanc

Espace36 Espace 36 is an art association, a place for creating and disseminating contemporary art with the focus

Contact: Espace 36 association d’art contemporain 36 rue Gambetta 62500 Saint-Omer France Phone: (+39) (0)3 21 88 93 70 E-mail: espace36@free.fr Website: http://espace36.free.fr Main contact person : Benoît Warzée

Contact: Folk Museum of Rogaška Slatina/ Ljudski muzej Rogaška Slatina Anin dvor Rogaška Slatina, Cvetlični hrib 1a 3250 Rogaška Slatina Slovenia

CHAPTER 1 CHAPTER 2 CHAPTER 3 CHAPTER 4 CHAPTER 5

Folk Museum of Rogaška Slatina/ Ljudski muzej Rogaška Slatina The Folk Museum Rogaška Slatina is a private collection of Rogaška Slatina resident Nani Poljanec, who established the museum on the cult of his personality and interests. A performer, impersonator, manager, journalist, “etno pomp” artist, fashion designer, culinary ethnologist, poet, singer, photographer, culture manager, and collector, Poljanec has built his museum collection around his personal and family history and the early 20th-century history of the very famous Spa of Rogaška Slatina. In those times a lot of prominent guests enjoyed their retreats and health treatments there and left their mark on local people. In 2012 the museum moved in the newly built Anin dvor [Ana’s Mansion] where the visitors can finally enjoy a permanent display.

C H A P T E R 1: T H E E M E E P R O J E C T A N D I T ' S G O A L S

on building public awareness. The primary objective is to support artists’ practice in their research and production of contemporary art (multidisciplinary: photography – video – sound – installations….), to make this process accessible to the public and to create sociocultural links with the surrounding areas. Welcoming the public and ensuring they can engage with the exhibitions is the basis of our audience development mission. An exchange which enriches both artist and public consists not in ‘explaining’ the work to visitors, but in leading them towards discovering their own impressions and emotions by providing key points of reflection to guide them through the work.

Phone: (+386) 41 704 075 E-mail: kunsthaus68@gmail.com Website: https://www.facebook.com/Ljudski-muzejRoga%C5%A1ka-Slatina-1678749059080370/ Main contact person: Nani Poljanec

La FRAAP Fédération des réseaux et associations d’artistes plasticiens La FRAAP is a federation that brings together networks, associations and non-governmental organization of visual artists around the common goal of a better professional structuration of this sector of activity. Those associations are frequently underestimated despite the remarkable work they perform and the networking they provide to the entire sector of contemporary art. Even if they can have different sizes and activities, some characteristics can be distinguished: — They are managed by artists who work together towards a real implantation of contemporary art in their territories.

— They embody the success of collective and organized work to invent and reinvent original ways to produce and show visual arts — With all their teams (employees and volunteers), they structure and professionalize new places to show art, new ways of creating and in this way provide a constant help to the artists and to the creation in all its diversity. Their main activities are: organisation of events and exhibitions; organisation of symposium, debates and meetings; publishing (catalogues, brochures, artists books, CD rom…); organisation of working groups, classes, training courses; cultural projects coordination; artists-in-residence programs; school presentations; legal aids for the artists… Contact: FRAAP – Fédération des réseaux et associations d’artistes plasticiens Cité Joly 4 75011 Paris France

GNAM (National Gallery of Modern Art) The GNAM (National Gallery of Modern Art), established in 1883 for the purpose of documenting the ‘living’ art is nowadays a museum with two souls, just like two are the centuries it deals with: the 19th and the 20th. On the one hand,its important collections mirror the cultural events of the unitary Italian State also with their international reflections, on the other hand they are the great historical reserve of the Italian contemporary art system. With its neoclassical and Romantic paintings and sculptures, it marks a dramatic change from the glories of the Renaissance and ancient Rome. Its 75 rooms house the largest collection of works by 19thand 20th-century Italian artists including Giacomo Balla, Umberto Boccioni, Giorgio de Chirico, Giovanni Fattori, Amedeo Modigliani and others.

Phone: (+39) 06 322981 Fax: (+39) 06 322 15 79 E-mail: s-gnam@beniculturali.it Website: http://www.gnam.beniculturali.it/ Main contact person: Pier Luigi Mattera

Intermunicipal museum of Kamnik/ Medobčinski Muzej Kamnik The Museum of Kamnik was established on 4 December 1961. In 2003 the municipality of Komenda, Trzin and Kamnik established the Intermunicipal museum of Kamnik. The museum have three units: the museum which is placed in the Zaprice castle, the Miha Maleš Gallery and the Birth place of Rudolf Maister. Our collections could be seen on permanent and temporary exhibitions and in exhibition centres in

CHAPTER 1 CHAPTER 2 CHAPTER 3 CHAPTER 4

Contact: GNAM (National Gallery of Modern Art) Viale delle Belle Arti 131 00196 Rome Italy

CHAPTER 5

Main contact person: Pascal Pesez, Laurent Moszkowicz

C H A P T E R 1: T H E E M E E P R O J E C T A N D I T ' S G O A L S

Phone: (+33) 6 51 64 79 77 E-Mail: coordination@fraap.org Website: http://www.fraap.org/

the co-founding municipalities â&#x20AC;&#x201C; Trzin and Komenda. The Museum manages also publishing of invitations, posters, brochures, catalogues, different monographs etc. Andragogical and pedagogical activities at the Museum are tailored to visitors of any age and interest (children workshops, lectures, guidance). With all its programmes the Museum provides the members of community with experience of discovering our cultural heritage and learning about history, art and everyday life, whereas the school groups may variegate and supplement their educational program. Contact: Intermunicipal museum of Kamnik/ MedobÄ?inski Muzej Kamnik Muzejska pot 3 1240 Kamnik Slovenia Phone: (+386) 1 8317 647 or (+386) 1 8317 662 E-mail: info@muzej-kamnik-on.net Website: http://muzej-kamnik-on.net/

Maison de la Bataille La Maison de la Bataille is a museum about the Battle of Cassel. The museum stands near Mount Cassel (7 km). Its aim is to showcase Flemish culture from France which makes it unique. 1677: The army troops of William III of Orange, stadtholder of the United Provinces, who were getting ready to deliver Saint-Omer, were stopped in their tracks by the French garrisons stationed on the strategic site of the Cassel plain. Contact: Maison de la Bataille 200 rue de la Mairie 59670 Noordpeene France Phone: (+33) 3 28 40 67 36 Fax: (+33) 3 28 43 06 80 E-mail: maisondelabataille-noordpeene@wanadoo.fr Website: http://www.musee-noordpeene.eu/ Main contact person: Jocelyne Willencourt

Main contact person: Zora Torkar

Contact: MiBACT Direzione Generale Educazione e Ricerca via Milano, 76 00184 Rome Italy Phone: (+39 06 48 29 1203 E-mail: dg-er@beniculturali.it Website: http://www.dger.beniculturali.it/ Main contact person: Dr. Martina De Luca

CHAPTER 1 CHAPTER 2 CHAPTER 3 CHAPTER 4 CHAPTER 5

Moderna galerija plus Museum of Contemporary Art Metelkova Moderna galerija (MG+MSUM) is Sloveniaâ&#x20AC;&#x2122;s national museum of modern and contemporary art, based in Ljubljana. It operates as two separate units: Moderna galerija/the Museum of Modern Art (MG+), and the Museum of Contemporary Art Metelkova (+MSUM). As a museum of modern art, Moderna galerija systematically researches, collects, and exhibits modernist art and art in the modernist tradition. It focuses primarily on Slovene art of the 20th century, starting with early modernism around 1900, and also on present-day artists who continue to work in traditions that follow modernist tendencies. As a museum of contemporary art, Moderna galerija fosters contemporary practices in visual art, presenting new themes and approaches to expressing, exhibiting, and interpreting contemporary art, compiling a permanent collection of 21st century art with regular purchases of works by Slovene artists, and adding to the international collection Arteast 2000+ by purchasing works of foreign artists.

C H A P T E R 1: T H E E M E E P R O J E C T A N D I T ' S G O A L S

MiBACT Direzione Generale Educazione e Ricerca The General Direction for Education and Research coordinates, develops and evaluates educational and research programmes in the areas of interest of the MIBACT (Ministry of Cultural Heritage and Activities and Tourism). To this purpose, among other activities, it coordinates the Educational Services in the Ministry institutes and prepares every year, together with the Consiglio Superiore dei Beni culturali, the national plan for education to cultural heritage.

Contact: Moderna galerija plus Museum of Contemporary Art Metelkova Windischerjeva ulica 2 1000 Ljubljana Slovenia Phone: (+386) 1 2416 800 Fax: (+386) 1 2514120 E-mail: info@mg-lj.si Website: www.mg-lj.si Main contact person: Zdenka Badovinac Musée du Louvre As an ancient royal residence, the Louvre is inextricably linked to eight centuries of French history. Designed in 1793 as a universal museum, its collection, among the best in the world, span many millennia and miles, from the Americas to Asia. Over 35,000 artworks are grouped into eight curatorial departments, including universally-admired works such as The Mona Lisa, The Winged Victory of Samothrace, and the Venus de Milo. With over 8.3 million visitors, the Louvre ranked as the world’s most visited museum in 2015

Contact: Musée du Louvre cedex 01 75058 Paris France Phone: (+33) 1 40 20 58 76 E-mail: Cyrille.gouyette@louvre.fr Website: http://www.louvre.fr Main contact person: Cyrille Gouyette Musei Provinciali di Gorizia Musei Provinciali di Gorizia is a regional museum exhibition spaces in two historic buildings from the 16th and 18th century. The museum has been founded in 1861 and it boasts with rich collections of the region whose importance spreads over the border which was established in the past century. The main jewels of Musei Provinciali di Gorizia are the Pinacotheca with works of locally important authors but even world renowned names, originating from this region, such as Zoran Mušič; the museum of the Great War which reflects the story of the Isonzo front from the perspective of the town of Gorizia; the

Phone: (+39) 0481 547499 E-Mail: alessandro.quinzi@provincia.gorizia.it Website: www.gomuseums.net/custom/home.php Mail contact person: Alessandro Quinzi Museo di Roma in Trastevere The Museum of Rome in Trastevere, located in the seventeenth-century Convent of St. Egidio, hosts a permanent collection of paintings, graphics, installations and life-sized photographic prints, representing 18th to 20th century Rome. The collection exhibits the salient aspects of popular life in Rome, filtered through the tastes and convictions of the artists and folklor-

CHAPTER 1 CHAPTER 2 CHAPTER 3 CHAPTER 4 CHAPTER 5

Contact: Musei Provinciali di Gorizia Palazzo Attems Petzenstein Piazza De Amicis 2 34170 Gorizia Italy

ists who represented it. The major themes present in the collection are the costumes, the popular dances, the secular and religious festivals and the crafts. Part of the collection is composed by the series of watercolors entitled Roma Pittoresca di Ettore Roesler Franz. Painted between 1876 and 1897, they portray the parts of Rome invested by the urban and architectural renovation initiated by the Italian Government after 1870, to adapt Rome to the new role of capital city. Beautiful and significant is the program of temporary exhibitions, that diplay the profound cultural transformations experienced by the city in recent years. These intiatives include multimedia, film and photography, with exhibitions conferences to maintain a constant dialogue with the social changes and their reflections on the visual arts and the media. The temporary exhibition ‘Dalla tradizione alla contemporaneità. Visioni dalla città che cambia’, displays the changes and continuities in Roman social life from the nineteenth century until the 1980s. The sections of the exhibition encompass the traditional costumes, religious rites, festivals and amusements such as the Carnival, the luminarie and folk dances, aspects of daily life through crafts and activities that could be observed in the city.

C H A P T E R 1: T H E E M E E P R O J E C T A N D I T ' S G O A L S

Museum of Applied Arts that boasts with the riches of local crafts such as silk production and fine lacemaking and an Archeological collection.

Contact: Museo di Roma in Trastevere Piazza S.Egidio1/b, 00153 Rome Italy Phone: (+39) 06 5899359 Fax: (+39) 06 5884165 E-mail: dg-er@beniculturali.it Website: www.museodiromaintrastevere.it Main contact person: Silvana Bonfili

Museum and Galleries of Ljubljana The institution Museum and Galleries of Ljubljana was established in 2009. It comprises the City Museum of Ljubljana and 7 other exhibition sites. Among the venues of MGML are also two important literary sites that honor two Slovenian literates: Oton Župančič Memorial Collection and Ivan Cankar Memorial Room. The Institute’s mission is to record, collect, document, valuate, preserve, interpret, study and present tangible and intangible heritage relating to the history of the City of Ljubljana and its wider surroundings from the Prehis-

toric Period until the present day, to conduct pedagogic, andragogic and promotional activities concerning the Institute’s operations, and related vocational training. The Museum and Galleries of Ljubljana is a creative and modern institution with close links to its environment. By pursuing an internationally comparable programme, it paves the way for new concepts of museology and gallery work. By offering a diverse and accessible programme oriented to quality, it outlines creative approaches to upgrading existing professional standards in this field. MGML is a place of synergy and learning, a platform offering new insights into our past, present and future. MGML’s audiences and collaborators both locally and abroad contribute to creating a museum and a gallery of the future. Contact: Museum and Galleries of Ljubljana Gosposka 15 1000 Ljubljana Slovenia Phone: (+386) 1 2412 500 Fax: (+386) 1 2412 540

Museo Arqueológico Provincial de Badajoz The Museo Arqueológico Provincial de Badajoz was created in 1867 by the Comisión Provincial de Monumentos (Provincial Monuments Commission). It was transferred to the central government management, in 1938, and then to the Comunidad Autónoma (Autonomous Community) one, in 1989. Since 1867 the museum has worked continuously for the archaeology of the Província de Badajoz (Province of Badajoz), keeping and exposing the artifacts found throughout the whole province. Concerning the building, its public area is located in the Palacio de los Duques de Feria – Condes de la Roca in the Alcazaba of Badajoz, a building which is partly from the 16th century and was completely renovated between 1970 and 1989. Its collections, consisting of around twenty thousand registers in the museum’s inventory, are composed by artifacts found throughout the whole

Phone: (+34) 924 00 19 08 E-mail: museoba@clt.juntaex.es Website: http://web.dip-badajoz.es/proyectos/cler/ museoDetalle.php?Id=14&ver=C&localidad=&categ oria= Main contact person: Dr. Guillermo Kurz (Director)

Museum of Architecture and Design The Museum of Architecture and Design (MAO) is a national Slovene museum for architecture, industrial and graphic design and photography. MAO collects and archives works from prominent architects, designers and photographers of the 20th and 21st

CHAPTER 1 CHAPTER 2 CHAPTER 3

Contact: Museo Arqueológico Provincial de Badajoz Plaza José Álvarez y Sáez de Buruaga s/n, 06071 Badajoz Spain

CHAPTER 4

Main contact person: Blaž Peršin

CHAPTER 5

province of Badajoz. These items date from the Lower Paleolithic to the 19th century.

C H A P T E R 1: T H E E M E E P R O J E C T A N D I T ' S G O A L S

E-Mail: info@mgml.si Website: www.mgml.si

centuries; from plans, sketches, and models for buildings to various kinds of furniture, small objects, appliances, posters, various kinds of printed materials, and photographs, constituting a rich history of creative ideas, vision and production. MAO organizes and shares this seemingly unlimited source of inspiration and exploration through its many exhibitions, guided tours, workshops, other diverse events and through its publications. In this unique environment where past, present and a desire to discover the new come together, MAO serves as a dynamic forum for the exchange of ideas, knowledge and dialogue for and among a wide range of visitors. Its premises are in the Fužine Castle, in the only still preserved Renaissance castle in Ljubljana. Contact: Museum of Architecture and Design Pot na Fužine 2 1000 Ljubljana Slovenia Phone: (+386) (0)1 5484 270 Fax: (+386) 01 540 03 44 E-Mail: mao@mao.si

Website: www.mao.si Main contact person: Matevž Čelik

Museum of Art and Cultural History Dortmund Founded in 1883 the Museum of Art and Cultural History Dortmund was the first municipal museum in the Ruhrgebiet. The collection came about solely as a result of public enthusiasm and dedication, the commitment of highly motivated city fathers and the first museum director Albert Baum of 1883. It rapidly grew too large for the rooms available. In 1983 the museum moved into the converted former headquarters of the city savings bank. The original building, one of the first steel and concrete buildings designed by Hugo Steinbach in art-déco style, dates back to 1924. It was modernised between 1997 and 2000 when the exhibition underwent a radical facelift in terms of content and presentation. Because of its particular history the museum offers its visitors many specialist museums under a single roof. Seen overall, the various departments correspond harmoniously to form a museum of practical life. Thanks to the form of presentation it combines the characteristics of an art gallery and a ‘Wunderkammer’,

Phone: (+49) 0231 50-25522 Fax: (+49) 0231 50-25511 e-mail: mkk@stadtdo.de Website: www.mkk.dortmund.de Main contact person: Dr. Gisela Framke

Museo de Cáceres The Museo of Cáceres is located in the historic center, considered Human Heritage by UNESCO. The first museum board dates from 1917, but the concept was created in 1899, when a group of local history scholars began collecting archaeological and artistic objects. The exhibitions are divided by different areas: the Casa de las Veletas (a Palace from the 16th century,

Contact: Museo de Cáceres Plaza de las Veletas, 1 10003 Cáceres Spain Phone: (+34) 927 01 08 77 E-Mail: museocaceres@gobex.es Website: http://www.museodecaceres.blogspot.pt/ Main contact person: Dr. Juan M. Valadés Sierra (Director)

CHAPTER 1 CHAPTER 2 CHAPTER 3 CHAPTER 4 CHAPTER 5

Contact: Museum of Art and Cultural History Dortmund Hansastraße 3 44137 Dortmund Germany

probably built over an old Muslim fortress), which holds the Archaeology and Ethnography collections since 1931; the Casa de los Caballos (a former stable), where the collection of Fine Arts was placed in 1992; it also includes the Interpretative Center of the Maltravieso Cave, unique because of its prehistoric 30 clusters of 60 human handprints, discovered from 1951 on. The Archaeological collection has got artifacts from the Lower Paleolithic to the Middle Ages and the Fine Arts exhibition shows art pieces from the 13th century to Contemporary Art.

C H A P T E R 1: T H E E M E E P R O J E C T A N D I T ' S G O A L S

enabling visitors to enjoy the beautiful side of life, to gaze in wonder at its exclusive features and to learn more about urban culture and history.

Museum of European Cultures – National Museums Berlin The Museum of European Cultures is concerned with European lifestyles and cultural encounters from the 18th century to the present day and is involved in research, collection, conservation, displays and teaching. The Museum is the result of the amalgamation in 1999 of the 110-year-old Museum of German Folklore and the European department of the Museum of Ethnology (est. 1873). With its approx. 280,000 exhibits the Museum boasts one of the largest collections devoted to daily culture and popular art in Europe. Contact: Museum of European Cultures – National Museums Berlin/ Museum Europäischer Kulturen – Staatliche Museen zu Berlin Im Winkel 8 14195 Berlin Germany Phone: (+49) 030 266 42 68 01 Fax: (+49) 030 266 42 68 04 E-mail: mek@smb.spk-berlin.de

Website: http://www.smb.museum/museen-undeinrichtungen/museum-europaeischer-kulturen/ home.html Main contact person: Léontine Meijer-van Mensch

Museum of Goriška Region/ Goriški muzej The seat of the Goriška regional museum is situated at the Renaissance Kromberk Castle near Nova Gorica. It houses an art history collection, an archeological collection a cultural history collection and a permanent exhibition of art mainly from the Goriška region. The museum also manages several dislocated collections: the Dobrovo Castle hosts a permanent exhibition of the works of the painter Zoran Muršič and several temporary exhibitions; Medana holds the Memorial House of the poet Alojz Gradink; Ajdovščina offers exhibitions of fossils and the ancient Ajdovščina; the military watchtower in Vrtojba houses the smallest museum in the world. At the railway station of Nova Gorica it’s a small exhibition of the border in the period 1947-2004.

Main contact person: David Kožuh

Musée de l’air et de l’espace/Air and space museum Founded in 1919 and inaugurated at the legendary Le Bourget Paris airport in 1975, the French Air and Space Museum is one of the leading aviation museums in the world, both in age and in the richness of its collections: there are over 400 aircraft, all of them authentic. Visitors can relive the whole aviation and space era, including: — the beginnings of aviation with the original models of the very first flying machines;

Contact: Musée de l’air et de l’espace/Air and space museum Aéroport de Paris – Le Bourget BP173 93352 Le Bourget Cedex France Phone: (+33) 1 49 92 70 00 Fax: (+33) 1 49 92 70 59 E-mail: ecrire@museeairespace.fr Website: http://www.museeairespace.fr Main contact person: Laetitia Miraton

CHAPTER 1 CHAPTER 2 CHAPTER 3 CHAPTER 4 CHAPTER 5

Phone: (+386) 5 335 98 11 Fax: (+386) 5 335 98 20 E-mail: goriski.muzej@siol.net Website: http://www.goriskimuzej.si

— great air raids with the famous ‘Oiseau Canari’ and ‘Point d’Interrogation’; — military aviation with aircraft from the French Air Force and the legendary ‘Warbirds’; — the adventure of vertical flight, started in France just over a century ago; — the heyday of commercial flights with two Concorde, including the first to have flown; — a Boeing 747 that can be explored in detail, from the hold to the cockpit; — the conquest of space with the Space Hall; — the planetarium and the discovery of the universe.

C H A P T E R 1: T H E E M E E P R O J E C T A N D I T ' S G O A L S

Contact: Museum of Goriška Region/ Goriški muzej Grajska cesta 1, Kromberk 5000 Nova Gorica Slovenia

Museum of Recent History Celje The mission of the Museum of Recent History Celje is to ensure the permanent and uninterrupted performance of the public service of preserving, exploring, presenting, exhibiting and popularising the mobile cultural heritage from the fields of history and ethnology from the beginning of the 20th century onwards. The museum, in compliance with the rules and goals of the museum profession, houses the mobile cultural heritage of Celje and the Celje region and presents it to the widest circle of the public. The field of activity connects the recent national and regional history and ethnology with modernity and actuality. This is the basis both for the collecting policy and museum collections as well as for other versatile popularisation activities and the museum’s offer. Special attention is given to younger visitors to the museum, who can take part in pedagogic programmes and activities. The Celje Museum of Recent History, which has adopted a strategic document regarding its activity, is at the same time a scientific research centre and an education institution. By reviving museum items and their stories, the museum sheds light on the past, helps to understand the present and co-cre-

ate the future. It is a place for discovering, learning, socialising and contemplating. Contact: Museum of Recent History Celje Prešernova ulica 17 3000 Celje Slovenia Phone: (+386) 3 428 64 10 Fax: (+386) 3 428 64 11 E-Mail: tajnistvo@mnzc.si Website: www.muzej-nz-ce.si Main contact person: Tanja Roženbergar

musil – Museum of Industry and Labour Musil – Museum of Industry and Labour of Brescia is dedicated to industry as a social fact and main force of Italy’s modernization. It includes the following centers: — the Museum of Cinema and Cartoons of Rodengo Saiano, in Franciacorta, including also the open storage of the whole museum system;

Phone: (+39) 030 3750663 Fax: (+39) 030 2404554 E-Mail: fondazione@musil.bs.it Website: www.musilbrescia.it Main contact person: René Capovin

National Liberation Museum Maribor The National Liberation Museum began operating as an independent museum institute on 1st May 1958. Its origins date back to the year 1947, when a collection on the fight for national liberation was opened in

CHAPTER 1 CHAPTER 2 CHAPTER 3 CHAPTER 4 CHAPTER 5

Contact: musil – Museum of Industry and Labour Via Cairoli 9 25122 Brescia Italy

the Regional Museum in Maribor. This was the first collection of its kind in a complex Slovene museum. On its foundation the concept of the content of the museum was precisely defined. It is a historical museum, which deals with the museological and historiographical treatment of modern history of northeastern Slovenia. Today, along with interesting and rich museum collections, which already amount to more than 90 thousand museum artefacts, there is a very opulent museum photo-library, which keeps a large number of documented photographs and negatives, and also a good deal of video and audio material. In the museum a fund of industrial heritage is also growing. A speciality of the museum is its archive, which has more than 120 running metres of material from occupying enemy and Partisan sources. Following the donation of 1600 cameras and photographic equipment of Avgust and Maria Bohanec we also opened the Photographic Museum Maribor in 2013. The National Liberation Museum Maribor was also among one of the first museums in Slovenia to introduce the post of curator educator. With its diverse forms of work with visitors the work of the museum educator is still today one of the pillars of museum activities.

C H A P T E R 1: T H E E M E E P R O J E C T A N D I T ' S G O A L S

— the Museum of the Hydroelectric power, in the Valle Camonica, in a huge power plant, symbol of the modernity of the 20th century; — the Museum of Iron, located in an old forge in Brescia.

Contact: National Liberation Museum Maribor Ulica heroja Tomšiča 5 2000 Maribor Slovenia Phone: (+386) 2 23 52 600 E-Mail: aleksandra.berberih-slana@mnom.si Website: www.muzejno-mb.si

faunistics, zoogeography and ecology; floristics; mineralogy. Some of the areas have priority as a result of which NMNHS has become the national centre of biospeleology, archaeozoology and palaeontology of vertebrates and of bat studies. Museum activities for maintenance of the exposition and its enrichment and the processing of scientific collections are performed along with the scientific studies. With this NMNHS is pursuing its educational and promotional mission.

Main contact person: Dr. Aleksandra Berberih-Slana

National Museum of Natural History (Sofia) The mission of NMNHS incorporates fundamental and applied studies, management and preservation of collections, promotion of natural-scientific knowledge through the exposition and popular literature, training of doctorate degree candidates, expert activities. NMNHS is the only national institution directly engaged with the preservation of scientific collections of live and non-live nature. The study of biodiversity, environmental protection and the evolution of organisms are the museum’s major priorities. It develops the following scientific areas: taxonomy,

Contact: National Museum of Natural History Tsar Osvoboditel 1 1000 Sofia Bulgaria Phone: (+359) 2987 41 95 Fax: (+359) 2988 2894 E-Mail: contact@nmnhs.com Website: http://www.nmnhs.com/index_bg.php Main contact person: Silvia Tosheva

Phone: (+43) 676 7455013 E-Mail: forum@symposion-lindabrunn.at Website: http://www.vsl.or.at Main contact person: Johanna Haigl

The Posavje Museum Brežice The Posavje Museum Brežice is located in The Castle Brežice, that has been built in 16th century. The museum has been part of the cultural heritage of the Posavje region ever since its opening in 1949. It keeps several permanent exhibitions: an archaeological col-

Contact: The Posavje Museum Brežice Cesta prvih borcev 1 8250 Brežice Slovenia Phone: (+386) 07 466 0517 Fax: (+386) 07 466 0516 E-mail: vodnik@pmb.si Website: www.pmb.si Main contact person: Alenka Černelič Krošelj

CHAPTER 1 CHAPTER 2 CHAPTER 3 CHAPTER 4 CHAPTER 5

Contact: Nomad Museum Steinbruchstrasse 25 2551 Enzesfeld/Lindabrunn Austria

lection, an ethnological collection, a collection on the peasants rebellion and the reformation, the exhibition Buerger – mestjan – meščan (The citizien), the exhibition under nine flags: Posavje 1900-1990. In the part on history of art of Alenka Gerlovič and the memorial collection of Franjo Stiplovšek. The museum presents different temporary exhibitions with a variety of programmes accompanying them.

C H A P T E R 1: T H E E M E E P R O J E C T A N D I T ' S G O A L S

Nomad Museum Nomad Museum specialises in the design, production and management of engaging and experiential temporary, touring and permanent interpretive exhibitions for museums and cultural venues in Europe.

Projecto Estela The writing of Southwest Iberia is the oldest of the Iberian Peninsula and one of the oldest in Europe, possibly invented around the 8th century B.C. Therefore, this is probably one of the earliest writing systems in Europe. It is also a surprising phenomenon since it shows the influence of the eastern Mediterranean area, only explainable by an ancient Phoenician presence in the Western extreme of the Iberian Peninsula. However it is yet to be proved how the artefacts depicting this writing appear in places where the Phoenician influence is not so strong. Besides, this writing system is yet to be fully decoded. This task is difficult to accomplish because there aren’t many examples and there is still a lot of research to be done. The aim of Projecto Estela is both to the develop research on this matter and to promote different actions in order to disseminate all that concerns this type of writing system (such as conferences, educational activities and exhibitions, among others). Projecto Estela also establishes partnerships with other cultural institutions.

Contact: Projecto Estela Phone: (+351) 968995197 E-mail: projecto.estela@gmail.com Website: http://projectoestela.blogspot.pt/ Main contact person: Dr. Pedro Barros

The Radovljica Municipality Museums/ Muzeji radovljiške občine The Baroque manor in the old part of Radovljica houses the Apiculture Museum with a rich tradition of the Slovenian apiculture, which is famous for its well-known beekeepers, and the Town Museum with a permanent collection of life and work of Anton Tomaž Linhart, the Enlightenment historian and the first Slovenian dramatist (1756–1795) who originated from Radovljica. The historical town centre of Radovljica includes the burger’s Šivec House – an important monument of the late Gothic architecture, with an art gallery, a permanent illustration collection and a wedding hall.

Contact: The Radovljica Municipality Museums/ Muzeji radovljiške občine Linhartov trg 1 4240 Radovljica Slovenia Phone: (+386) (0)4 5320 520 Fax: (+386) (0)4 5320 524 E-Mail: verena.vidic@siol.net Website: www.muzeji-radovljica.si Main contact person: Verena Štekar-Vidic

CHAPTER 1 CHAPTER 2 CHAPTER 3 CHAPTER 4 CHAPTER 5

Regional History Museum ‘Stoyu Shishkov’ (Smolyan) We invite you to visit the largest museum in the Middle Rhodopes. We offer to your attention the permanent exposition ‘Cultural and Historical Heritage of the Rhodope Region from Antiquity to Modern Times’ with over 1500 unique exhibits, included in two major divisions – ‘Archaeology’ and ‘Ethnography’. Temporary exhibitions are presented periodically. Archaeological findings prove the early habitation of the mountain and follow the specific features of material and non-material heritage left behind by the local population since the end of Paleolithic till Late Middle Ages. You will be enchanted forever by the wealth and uniqueness of the colours of the mountain and of the mastery of the Rhodopes craftsmen, while the cosmic chimes of the 100 sheep bells will fascinate you with the originality of their music. A visit to the Regional History Museum ‘Stoyu Shishkov’- Smolyan is the easiest way for you to get acquainted with the millennial history of the Middle Rhodopes, preserved over the centuries into the present and well-kept for the future.

C H A P T E R 1: T H E E M E E P R O J E C T A N D I T ' S G O A L S

The Forging Museum in Kropa presents the historical development of technical iron handling, as well as social and cultural conditions in Kropa and its surroundings from the 15th to the 20th century. Close nearby visitors can learn how iron was forged in the so-called Vigenjc (the Forge). Part of the Katzenstein Manor in Begunje, Gorenjska, where the Gestapo prisons were situated during the Nazi occupation, was reconstructed into the so-called Hostage Museum.

Established in 1935 by Stoyu Shishkov, the Museum of History in Smolyan is the biggest museum that preserves the signs of the memory of the people inhabiting the central part of the Rhodopes in different periods of history. Contact: Regional History Museum ‘Stoyu Shishkov’ Dicho Petrov 3 4700 Smolyan Bulgaria Phone: (+359) (0) 301 6 27 70, (+359) (0) 301 6 57 53, (+359) (0) 301 6 27 27 Fax: (+359) (0) 301 6 27 70 E-Mail: museum-sm@mail.bg Website: www.museumsmolyan.eu Main contact person: Tanya Mareva

RICHES: Renewal, Innovation and Change: Heritage and European Society RICHES is a research project about change; about the decentring of culture and cultural heritage (CH) away from institutional structures towards the individual; about the questions which the advent of digital technologies is posing in relations to how we understand, collect and make available Europe’s CH. Though enormously rich, Europe’s CH is often locked away, or crumbling, or in a foreign language, or about a past which to many people seems of little relevance. But this is changing. As digital technologies permeate all of society, compelling us to rethink how we do everything, we ask questions: how can CH institutions renew themselves? How may the move from analogue to digital represent a shift from traditional hierarchies of CH to more decentred practices? How can the European citizen (alone or as part of a community) play a vital co-creative role? How can CH be a force in the new European economy? Contact: Coventry University Professor Neil Forbes Priority Street

Main contact person: Franco Juri Main contact person: Neil Forbes

Sergej Mašera Maritime Museum The first collections of the Maritime Museum of Piran were exhibited in the Civic Museum of Piran, which was established in 1954. The study of Slovene naval history and maritime tradition was one of the first activities of the newly founded museum. In 1967 the Civic Museum was renamed the Sergej Mašera Maritime Museum of Piran. Contact: Sergej Mašera Maritime Museum Cankarjevo nabrežje 3, p.p. 103 6330 Piran Slovenia

Slovene Ethnographic Museum The Slovene Ethnographic Museum is a museum ‘about people, for people’, a museum of cultural identities, a link between the past and the present, between traditional and modern culture, between our own and other cultures, between the natural environment and civilisation. It is a museum of dialogue, open, active and hospitable, dedicated to serving the public. It presents and reports on traditional culture as well as mass and pop culture in Slovenia and the diaspora, on non-European cultures, and on the material and intangible cultural heritage of both everyday and festive life.

CHAPTER 1 CHAPTER 2 CHAPTER 3

E-mail: muzej@pommuz-pi.si Website: http://www.pomorskimuzej.si/

CHAPTER 4

Phone: (+44) (0)797 498 4084 E-Mail: info@riches-project.eu Website: http://www.riches-project.eu/

CHAPTER 5

Phone: (+386) 5 671 00 40 Fax: (+386) 5 671 00 50

C H A P T E R 1: T H E E M E E P R O J E C T A N D I T ' S G O A L S

Coventry CV1 5FB United Kingdom

Contact: Slovene Ethnographic Museum Metelkova ulica 2 1000 Ljubljana Slovenia Phone: (+386) 1 30 08 700 Fax: (+386) 1 30 08 736 E-mail: etnomuz@etno-muzej.si Website: www.etno-muzej.si Main contact person: Tanja Roženbergar

Slovenian Cinematheque/ Slovenska kinoteka Established in 1996 the Slovenian Cinematheque is the only Slovenian museum in the field of film and film heritage. It is a member of the International Federation of Film Archives (FIAF) and the Association des Cinematheques Européennes (ACE). Contact: Slovenian Cinematheque/ Slovenska kinoteka Miklošičeva 28 1000 Ljubljana Slovenia

Phone: (+386) 1 43 42 510 Fax: (+386) 1 43 42 516 E-mail: tajnistvo@kinoteka.si Website: www.kinoteka.si Main contact person: Ivan Nedoh

Slovenian Museum of Natural History/ Prirodoslovni muzej Slovenije The Slovenian Museum of Natural History is a Slovenian national museum with natural history, scientific, and educational contents. It is the oldest cultural and scientific Slovenian institution. The museum features national, European, and world-wide collections demonstrating the changes in biodiversity, the development of the natural history thought, as well as different techniques of collection and preparation of samples. Its research activities focus on natural heritage of Slovenia. Permanent display: a geo-paleontological collection, the Zois collection of mineralogy, the Hohenwart collection of mollusca shells, herbarium collections, a collection of insects by Ferdinand J.Schmidt, a collection of insects in the starting stage, presentation of the human fish, an alpine, swampland

Phone:(+387) 1 241 09 40 Fax: (+387) 1 241 09 53 E-mail: Uprava@pms-lj.si Website: www.pms-lj.si Main contact person: Dr. Breda Cinc Juhat

Stadtmuseum Kaufbeuren After being closed for more than 10 years, Kaufbeuren’s Stadtmuseum, founded in 1879, opened its doors on 7 June 2013 with a new permanent exhibition fully reflecting modern museum concepts and standards. With a strong focus on contemporary, target-group oriented communication, the museum

Contact: Stadtmuseum Kaufbeuren Kaisergäßchen 12-14 87600 Kaufbeuren Germany Phone: (+49) 8341-966 83 90 Fax: (+49) 8341-966 83 967 E-mail: Stadtmuseum@kaufbeuren.de Website: www.stadtmuseum-kaufbeuren.de Main contact person: Petra Weber

CHAPTER 1 CHAPTER 2 CHAPTER 3 CHAPTER 4 CHAPTER 5

Contact: Slovenian Museum of Natural History/Prirodoslovni muzej Slovenije Prešernova 20 1000 Ljubljana Slovenia

aims to take centre stage in the regional museum landscape. Founded in 1879, the Kaufbeuren Stadtmuseum is one of the oldest local history museums in Bavarian Swabia. It showcases the historical and cultural heritage of the town and its surroundings from their beginnings to the present day. High quality collections on the local, folk and religious history of the area form the nucleus of the museum’s collection. In addition to these, the museum boasts a number of outstanding special collections, including a crucifix collection, Protestant reverse-glass paintings and the estate of author Ludwig Ganghofer.

C H A P T E R 1: T H E E M E E P R O J E C T A N D I T ' S G O A L S

and forest diorama, and an exhibition of birds, reptiles and fish.

The Štore Ironworks Museum/ Železarski muzej Štore The Štore Ironworks Museum has been established relatively recently. The permanent exhibition features the development of Štore and surrounding settlements from late 19th century to present day. It focuses on mining and ironworks, two industries which strongly marked the area. The museum maintains a part of this industrial cultural heritage in the form of documents, photographs, plans and various objects. The collection is chronologically and thematically arranged. Very diverse materials are presented: plans, photographic evidence of life in Štore, education, cultural and social life, and ironworks production from the beginning of the 20th century onwards. The collection also entails postcards, catalogues and the company’s documentation archive. With our museum activity, we are part of the “Slovenian Trail of Iron Culture”, which links several Slovenian museums connected to ironworks.

Contact: The Štore Ironworks Museum/ Železarski muzej Štore Teharje 11 3211 Teharje Slovenia Phone: (+386) 3 425 88 06 Fax: (+386) 3 425 88 08 E-mail: Ic.store@siol.net Website: http://zelezarski-muzej.si/index.php/si/ Main contact person: Slavica Glavan

Targovishte Regional Historical Museum Public concerns brought about the idea of establishing a museum in 1951. Since 1953 there has been a permanent museum exhibition, but the Regional History Museum of Targovishte starts functioning as an independent institution, studying and popularising the history of the region, in 1960. It is a museum of general history with five major departments: ‘Archaeology’, ‘Bulgarian history from the fifteenth to the nineteenth

Contact: Targovishte Regional Historical Museum Mitropolit Andrey 2 7700 Targovishte Bulgaria Phone: (+359) 601/ 6 41 47; (+359) 601/ 6 52 16 Fax: (+359) 601/ 6 41 47 E-Mail: trgmuseum@abv.bg

CHAPTER 1 CHAPTER 2 CHAPTER 3 CHAPTER 4 CHAPTER 5

Hertsoi, Kappans, immigrants from the mountainous regions, Thracians and Shopps; Muslims – Turks and Allians); it shows an abundance of ethnic spirit and a fine artistic workmanship. Another house-museum – ‘Nicola Simov – Kuruto’ is dedicated to the famous standard-bearer of Botev’s revolutionary band. Temporary exhibitions are set in the foyer of the old school ‘Sv. Sedmochislenitsi’ (1863) – a cultural monument of national significance.

C H A P T E R 1: T H E E M E E P R O J E C T A N D I T ' S G O A L S

century’, ‘Modern and most recent history’, ‘Ethnography’ and ‘Fund’.It has unique collections of valuables that have participated in great national exhibitions all over the world. In the museum fund there are over 25 000 inventory entries of testemonies from different periods, from the Neolith to modern times. By far the most popular is the Kralevo gold treasure. Another topic of particular interest is the internationally famous annual spring-time fair of Eski Djumaya (Targovishte) – an important factor in the stock-exchange of the Ottoman Empire (during the National Revival period) and of the Principality of Bulgaria (after the Liberation). Nowadays the museum offers three permanent exhibitions. The Archaeological exhibiton occupies the premises of the former ‘Hadji Rusi’ school. It revives Targovishte region’s prehistoric and medieval past with exhibits such as: the unique scene of cult from the end of the Neolith, found near the village of Ovcharovo, the idol figurine collections, the Thracian gold exhibits, gold tinsel fabric and epigraphic monuments. The Ethnographic exhibition is set in the quaint National-Revival-period house (built in 1863) of Hadji Angel, and presents the way of life, the customs and folklore beliefs of the local population (Christians –

Technical Museum of Slovenia The Technical Museum is located in a former Carthusian monastery just 20 km from Ljubljana, the capital of Slovenia. Several collections can be seen in the museum: from forestry, woodworking, hunting, fishing and agricultural departments, to textiles, printing, traffic and electrical engineering. The attention of most visitors is drawn towards the water-driven elements -the flour mill, blacksmith’s workshop, fulling mill and veneer sawmill. Road vehicle fans aren’t disappointed either. They can admire the oldest surviving car from Slovenia or enjoy the sight of the limousines that once belonged to President Tito, Premier of former Yugoslavia. Apart from the guided tours visitors can also attend several workshops and demonstrations, through which they can truly experience the technical spirit of the past. The Technical Museum of Slovenia has also three dislocated units: Museum of Post and Telecommunications in Polhov Gradec, some collections at Bogenšpertk castle and Soteska open-storage depot.

Contact: Technical Museum of Slovenia Parmova 33 1000 Ljubljana Slovenia Phone: (+386) (0)143 61 606 Fax: (+386) (0)143 61 606 E-mail: info@tms.si Website: www.tms.si Main contact person: Orest Jarh, Ph. D.

Toy Museum of Catalonia The Toy Museum of Catalonia was inaugurated in 1982 in the premises of the former Hotel París onRambla de Figueres. The Museum’s exhibits include over 4.000 items: animated life forms, Meccano constructions, miniature theatre sets, cardboard animals and horses, etc. Many of these items are accompanied by old photographs of children with their toys, helping us to place them chronologically and see how children played with them. Some of the toys belong to personalities such as Anna Maria and Salvador Dalí,

Contact: The Toy Museum of Catalonia Hotel París /Carrer de Sant Pere 1 17600 Figueres Spain Phone: (+34) 972 504585 Fax: (+34) 972 676428 E-mail: info@mjc.cat Website: http://www.mjc.cat Main contact person: Josep Maria Joan Rosa

CHAPTER 1 CHAPTER 2 CHAPTER 3 CHAPTER 4 CHAPTER 5

Typhlological Museum Zagreb/ Tiflološki muzej Zagreb In the last five years, the Typhlological Museum has created prerequisites for its affirmation, in accordance with the new museum tendencies, and with the intention to be to the benefit of the disabled people. By defining our mission statement we have contributed in creating the concept of the museum and opening the permanent exhibition for which the Museum has received positive evaluations by different experts. Our efforts and the need to modernize the Museum were recognized and a financial support by the Ministry of Culture followed. A new permanent exhibition is being organized by joint efforts of all qualified personnel of the Museum as well as by selfless hard work of other employees. As the finalization of the adaptation and reconstruction of the Museum is in process, we have started working on the new exhibition for the public, the opening of which is scheduled for the end of 2007 – the European Year of Equal Opportunities for All. The areas we are planning to specially develop in the future are: communication with the public, development of an evaluation system for the programmes

C H A P T E R 1: T H E E M E E P R O J E C T A N D I T ' S G O A L S

Federico García Lorca, Joan Miró and others. A visit of the collection can be seen in many ways: a nostalgic look back through the games our grandparents played, an observation visit, in which we follow the scientific and technical advances that have at any given time influenced and are still influenced by historical events and artistic movements.

and services provided by the museum, high-quality promotion activities, continuous education of our employees, establishment of a network of associates, thus ensuring a strong relation between the institution and its users as well as raising awareness about people with special needs and their importance for carrying out our programmes. The Typhlological Museum is one of the rare special museums in Europe dealing with the problems of disabled persons, especially of the visually impaired. One of the ways out into the world is definitely this website, compatible with the new visual identity of the Museum. We plan to further perfect and enrich the webpage by creating a virtual museum, alongside the existing traditional one. Contact: Typhlological Museum Zagreb/ Tiflološki muzej Zagreb Draškovićeva 8 10000 Zagreb Croatia

Phone: (+385) 1 4811 102 Fax: (+385) 1 4835 218 E-mail: info@tifloloskimuzej.hr Website: http://www.tifloloskimuzej.hr/ Main contact person: Željka Bosnar Salihagić

Union of the Deaf in Bulgaria The Union of the Deaf in Bulgaria was established on July 12, 1934 with the aim of bringing together all the deaf people and to make a protection of their rights for work and decent life. With over 80-year history, the Union of the Deaf in Bulgaria is among the oldest non-governmental organizations in the country. Regular member of the World Federation of the Deaf, European Union of the Deaf, the International Committee of the quiet chess and the European Union of the Deaf youth. UDB funded the first in Bulgaria Center for early rehabilitation of deaf children up to 3 years of age, who has offices in Pleven, Varna, Haskovo, Stara Zagora. Currently has about 6500 deaf members of UDB, organized in 12 regional organizations of the Deaf in 12 cities. UDB has a long tradition

Contact: Union of the Deaf in Bulgaria 12-14 Ivan Denkoglu Str. Sofia 1000 Bulgaria Phone: (+359) 2 981 98 07 Fax: (+359) 2 980 16 96 E-mail: sgb@sgbbg.com Website: www.bg.sgbbg.com Main contact person: Nikolay Ninov

Contact: Danube-University Krems Center for Image Science Dr.-Karl-Dorrek-Strasse 30 3500 Krems Austria

CHAPTER 1 CHAPTER 2 CHAPTER 3 CHAPTER 4 CHAPTER 5

Danube University Krems – Center for Image Science As repositories of knowledge and instruments of communication the importance of image media continues to grow in our globalized society. Images from both networks of societal cohesion and have the power to ignite political and religious passions. Images create values and are a core resource for elaborating and communicating new scientific theories. Today the dynamics of the media revolution is redefining many issues that image science engages with. In almost every field practical and theoretical knowledge about how images originate, function, are exploited, their history and their effects is an essential prerequisite for acquiring image competence in the digital age.

C H A P T E R 1: T H E E M E E P R O J E C T A N D I T ' S G O A L S

in cultural activities, sports and tourism. From 1957 UDB develop their own business in 13 companies ‘Quiet work’ LTD. UDB has informational directorate ‘Media and Public Relations’, in which included the print edition – newspaper ‘Silence’, the electronic version of the newspaper, VIDEO CENTER, official website and a page on the social network Facebook.

Phone: (+43) (0)2732 893-2543 Fax: (+43) (0)2732 893-4551 E-mail: wendy.coones@donau-uni.ac.at Website: http://www.donau-uni.ac.at/cis Main contact person: Wendy Jo Coones, M.Ed.

University of Applied Sciences and Arts Northwestern Switzerland Academy of Art and Design Institute for Interior Design and Scenography The innovative debate with space is at the center of the training at the institute: the exploration and the design of the room which reaches from the plastic appearance and design of furniture and interior rooms through the design of exhibits and scenographic staging through the city or landscape spaces. Correspondingly IN3 stands for a multi-disciplinary course of studies, which includes the areas of architecture, furniture in a spatial context, scenography, performance, installation and event.

Contact: University of Applied Sciences and Arts Northwestern Switzerland Freilager-Platz 1 4023 Basel Switzerland Phone: (+41) 61 228 40 55 Fax: (+41) 61 228 42 78 E-Mail: andreas.wenger@fhnw.ch Website: http://www.fhnw.ch/hgk/iis Main contact person: Prof. Andreas Wenger

University Salzburg Contemporary Arts & Cultural Production The ULG MA in Cultural Productionis a 2.5 year program for further education (90 ECTSs) and is held in English. It is open to domestic and international students. The program is part-time and consists of five semesters. Each semester has two blocked sessions that are held in Salzburg. The trans-disciplinary curriculum lies at the intersections of art practice, cultural and communication studies, and a social science

Contact: Universität Salzburg Kulturmanagement Bergstraße 12/II 5020 Salzburg Austria Phone:(+43) ((0)662) 8044 – 2382 E-mail: siglinde.lang(at)sbg.ac.at Main contact person: Mag.a Siglinde Lang

CHAPTER 1 CHAPTER 2 CHAPTER 3 CHAPTER 4 CHAPTER 5

C H A P T E R 1: T H E E M E E P R O J E C T A N D I T ' S G O A L S

approach to economics. Cluster topics in relation to Space & Location, Vision & Change and Networks & Decentralisation allow for specialisation in one of the core areas of cultural production. According to their personal interests, students will propose their own project ideas that will be further developed and implemented in their contextual complexity throughout the course of the program. The ULG MA program also includes a three-week internship, individual coaching and a Master thesis.

THE PROJECT PHASES THE STRUCTURE OF THE EMEE PROJECT Over the course of four phases, the EMEE project aimed to apply the ideas of its underlying theoretical concept of Change of Perspective to a practical context. THE FIRST PHASE OF THE PROJECT During the first phase of the project, the partners began with a Mapping Process that had the aim of providing an overview of the current museum discourse concerning the EMEE topics. Drawing on ten best practice examples each, the partners selected and analyzed how museums have treated the topic of ‘Europe’ in their collections so far, what opportunities there are for attracting so-called ‘non-visitors’ (bridging-the-gap), and how the option of visitor participation and activation has been dealt with up to this point. Moreover, lists of current research projects and publications on these topics have been compiled. During the first phase of the EMEE project, the partners were able to build on this foundation and developed five socalled ‘Toolkits’: these offered an application-oriented presentation of the concept of Change of Perspective

Photo: © National Museum of Contemporary History, Slovenia

(COP) for all kinds of museums, as well as encompassing different focuses and thus creating a bridge between theory and practice. Additionally, the project partners developed accompanying COP-workshops, which are designed to train museum experts and interested non-professionals and which will therefore allow for the use of the concept in the long run.

CHAPTER 1 CHAPTER 2 CHAPTER 3 CHAPTER 4 CHAPTER 5

C H A P T E R 1: T H E E M E E P R O J E C T A N D I T ' S G O A L S

THE SECOND PHASE OF THE PROJECT While the first project phase was aimed at creating the essentials and provide the theoretical framework, the second phase focused on developing viable ideas on the basis of the Toolkits and the COP. In doing so, the interdisciplinary and international project team turned out to show significant creative potential. One of the main goals during this phase was to develop Exemplary COP-Units that could demonstrate how the Toolkits — and therefore the Change of Perspective — can be applied to different objects. To accomplish this, the partners chose suitable European topics and objects that allowed for multiple perspectives, recorded suggestions of so-called ‘museum distant groups’ and cooperated with them. Together, they developed scenographic, artistic and musical staging possibilities for the objects in question, as well as educational and cultural programs to impart the COP and to thus contribute to Europeanize museums. Moreover, and supporting this goal further, a scenographers competition entitled One Object – Many Visions – EuroVisions took place, which ended with a touring exhibition. This second project phase concluded with two more workshops that focused on applying the results of the EMEE project to museum practice. The first workshop addressed the question of how scenography can be deployed to convey varying perspectives on an object, while the second workshop revolved around the problem of attracting non-visitor groups by means of artistic interventions.

THE THIRD PHASE OF THE PROJECT After the theoretical framework had been established and viable exemplary ideas with an interdisciplinary outlook had been developed, the third phase of the project aimed to apply parts of these ideas to a practical context with the help of so-called ‘EuroVision Lab.s.’ These EuroVision Lab.s were dedicated to the tagline One Object – Many Visions – EuroVisions and were set up in all countries that participated in the project. While some of the Lab. activities had been conceptualized individually by the participating museums according to the COP’s principles, other parts like the EMEE Young Scenographers Contest or the Eurobarometer — while still being part of the Lab. — toured through all participating countries. Towards the end of the third phase of the project, the Lab.’s activities were evaluated and a study module was outlined, which is expected to ensure the implementation of the project’s ideas at university level.

THE FOURTH PHASE OF THE PROJECT The fourth project phase was all about ensuring and maintaining sustainability. The project’s results were documented in short videos, the present final brochure was created and dissemination was intensified. The last general meeting, which took place in Brussels, served as a platform to inform stakeholders, policy makers, representatives of museum associations and European museum experts about the project’s results. More-over, two factors will contribute to the implementation of the EMEE ideas in the long run: 1. The workshops and study modules conceptualized in the course of the project ensure that students as well as museum experts will still be able to engage themselves in the EMEE concepts in future. 2. In order to implement the project’s ideas in the long run a network of interested museums and institutions was established. Currently, the network consists of 140 partners that employ the concept of Change of Perspective. Their common aim is to add a transregional/ European level to their urban, regional and national perspectives.

Credits: Â© Kerstin Halm, monochrom

CHAPTER 5

CHAPTER 4

CHAPTER 3

CHAPTER 2

CHAPTER 1

C H A P T E R 1: T H E E M E E P R O J E C T A N D I T ' S G O A L S

THE CONCEPT OF ‘CHANGE OF PERSPECTIVE’ The core concept developed and explored by the EMEE project in order to foster a multicultural and transregional understanding of the local, regional, and national cultural heritage at a given location corresponded to a triple Change of Perspective (COP). It is based on three tenets: a) It asks to re-interpret existing museum collections in a multi-perspective, transregional and even cross-cultural way. b) It takes into account that museums in multicultural societies have a social responsibility and purpose and that they are supposed to entrust their visitors with a role that involves active participation. c) It strengthens the interdisciplinary and international (or interregional) cooperation of the museums in order to encourage a comparative perspective that goes beyond regional and national views.

For visitors, the COP functions as a ‘school of perception,’ i.e. it encourages them to engage with the objects. It illustrates that the visitors themselves are actively involved in constructing the ‘meaning’ of the object. They are supposed not only to detect the multi-layered regional, national, European or global meanings of an object, but also to add their own ‘meaning’ depending on their social or cultural background. Therefore, the tagline of EMEE is: One Object – Many Visions – EuroVisions. COP 1: CHANGE OF PERSPECTIVE THROUGH RE-INTERPRETATION OF MUSEUM OBJECTS First and foremost, the COP aims for the re-interpretation of existing object inventories. In doing so, locally important objects will additionally be situated in a transregional (if applicable European) and crosscultural context to make the diversity of the dimensions of meaning become evident. The local perspective reveals the transregional one, which – in turn – is illustrated by and tangible in the local view. However, generally the focus is laid on the on-site objects, which can be linked to migration movements, cultural encounters, cultural exchange and aspects of how one sees oneself and the other.

COP 2: CHANGE OF PERSPECTIVE BETWEEN MUSEUM EXPERTS AND VISITORS The COP concept is not confined to the re-interpretation of museums objects, but also seeks to change the differing perspectives of museum experts and visitors. Thus, the museums engage in a process of factoring in the views of their visitors when exercising their prerogative of interpreting the cultural heritage. They gradually evolve into their new roles as facilitators, encouraging (prospective) visitors to reflect on and express their own expectations, experiences and relationships concerning the museum objects.7 This implies allowing the museum to become a

CHAPTER 1 CHAPTER 2 CHAPTER 3 CHAPTER 4

imon, N. (2015), The Participatory S Museum, Santa Cruz, http://www. participatorymuseum. org/, Accessed 11 August 2016.

CHAPTER 5

C H A P T E R 1: T H E E M E E P R O J E C T A N D I T ' S G O A L S

Furthermore, the re-interpretation of the objects is geared towards presenting the objects in a way that allows for the visitors to be involved in the construction of the meaning of the objects and to expand their understanding of the local cultural heritage. With regard to re-interpreting the objects, a primary task of the COP is the careful vetting of the museum objects. The goal is to identify those objects and object groups that carry not only a local, but a transregional/European and potentially even global level of meaning and that thus lend themselves to encouraging visitors to actively contribute to the multi-layered meaning of the object. Over the course of the EMEE project, various ways of identifying the transregional and cross-cultural dimensions of museum objects were developed and tested (cf. pp. 2530).

kind of ‘social resonance chamber’ in our multicultural European society by making the visitors’ perspectives visible in the museum itself. The Change of Perspective between museum experts and the audience may come about in various areas. It might start with museum experts approaching representatives of different social groups that are currently underrepresented in a museum’s audience to work together and learn about their ideas and views on the objects. A step of similar importance is to fully employ the range of interactive visitor involvement with the objects and staging (e.g. hands-on or minds-on elements) and to provide the narrative contextualisation, as well as the ‘synaesthetic translation’ of selected suitable objects. This implies ‘translating’ the multi-layered meanings of an object into the ‘languages’ of narration, scenography, music, dance and other emotional and aesthetic forms of expression to match changed viewing habits of our multimedia society and to attract so-called ‘non-visitors’ like young visitors with a multicultural background or lower levels of education.

Moreover, the accompanying programs are a very important tool when it comes to changing the differing perspectives of museums experts and visitors. To give an example, inviting certain visitor groups to become involved in designing accompanying programs with considerable societal and present-day relevance enables them to incorporate their expectations, identities, and also their abilities into the work of the museum, and thus enables them to relate to the museum through their own experience. This, essentially, points to the concept of the museum as a Social Arena, that asks museums to take on a new role as agents of social inclusion and develop new strategies to become a place of intercultural dialogue with close links to the multicultural dimensions of the local cultural heritage’.8 Finally, employing social media and thus up-to-date communication channels (like Twitter, Facebook, Vimeo, YouTube, Wiki, Flickr etc.) is an essential tool to improve participation and integration of visitors.9 These tools are extremely useful for visitors since it allows them to communicate their sociocultural background and different views on the local cultural heritage.

f. Pett, D. (2011) Uses of social media C within the British Museum and museum sector, http://www.academia.edu/2259635/ Use_of_Social_Media_within_the_British_ Museum_and_Museum_Sector, Accessed 11 August 2016. See also: Kronberger, A., Kelley, H., Fabry, D., Friesinger, G. and Halm, K. (2016), Social Web and Interaction. Social Media Technologies for European National and Regional Museums (EMEE Toolkit series, vol. 5), Vienna: edition mono/monochrom, available online: http://www.museumsexhibiting-europe.de/download/8298/, Accessed 11 August 2016.

CHAPTER 1 CHAPTER 2 CHAPTER 3

CHAPTER 4

Watson, S. (2009) ‘History Museums, Community Identities and a Sense of Place. Rewriting History’, in S. J. Knell, S. MacLeod and S. Watson (eds) Museums Revolutions. How Museums Change and are Changed. 2nd ed., 160-172, New York: Routledge. Janes, R.R. (2009) ‘Museums, Social Responsibility and the Future we Desire’, in Simon J. Knell, S. MacLeod and S. Watson (eds) MuseumsRevolutions. How Museums Change and are Changed. 2nd ed., 134-159, New York: Routledge. Sandell, R. (ed) (2002), Museums, Society, Inequality, London: Routledge.

CHAPTER 5

C H A P T E R 1: T H E E M E E P R O J E C T A N D I T ' S G O A L S

COP 3: CHANGE OF PERSPECTIVE THROUGH INTERNATIONAL AND INTERDISCIPLINARY EXCHANGE AND COOPERATION The concept of COP can realize its full potential within a given local setting if the museums in question operate within interdisciplinary, international and transcultural networks. On the one hand, museum work has to acquire a more international outlook to gain deeper insight into new – especially transregional – issues, topics, methods, and means of representation. In this case, COP implies tearing down regional and national borders for the benefit of a European and global perspective. On the other hand, interdisciplinary cooperation between museum experts, scenographers, experts in History Didactics and museums educators, music designers, media experts, and cultural producers, as well as visitors can create new perspectives and tear down borders to leave familiar patterns of interpretation behind and to deploy hitherto unheard-of ideas and views on local museum objects. In this way, local museums can be turned into places where European heritage can function as a place for constructive dialogue in a multicultural society.

COP 1 CHANGE OF PERSPECTIVE AS EUROPEAN RE-INTERPRETATION OF OBJECTS

COP 3 CHANGE OF PERSPECTIVE IN THE PROCESS OF INTERNATIONAL COOPERATION COP 2 CHANGE OF PERSPECTIVE AS ROLE MODIFICATION BETWEEN MUSEUM EXPERTS AND VISITORS

Credits: Â© Kerstin Halm, monochrom

THE OBJECT AS ‘MIGRANT’ Regarding museums of city or regional history, which predominantly exhibit objects from the regional vicinity, the question concerning provenance from a transregional point of view may appear less productive. By taking a closer look, however, it often becomes apparent that in their history such objects indeed show transregional and/or transcultural references when, for instance, they were produced elsewhere and subsequently sold and re-sold once or twice before they ended up in the respective museum. Even though in museums of local and regional history such transregional aspects are discernible only for specific objects and groups of objects, the following basically applies to all museum objects regardless of their being exhibited or not: they all have a ‘history of migration’, which leads them from their place of origin – perhaps covering vast distances with manifold stops – to their position in a specific museum. Their ‘story of migration’ may perhaps be as exciting as a person's life story and open up further perspectives of transregional and/or transcultural questions.

f. Fuhrmann, A.-L., Schumann, J., Popp, C S., Schilling, S. and Mayer-Simmet, O. (2016), Making Europe Visible. Reinterpretation of Museum Objects and Topics. A Manual (EMEE Toolkit series, vol. 1), Vienna: edition mono/ monochrom, available online: http://www.museums-exhibiting-europe. de/download/8248/, Accessed 11 August 2016.

CHAPTER 1 CHAPTER 2 CHAPTER 3 CHAPTER 4

CHAPTER 5

There are various ways to identify the transregional and cross-cultural dimensions of museum objects. In the following, the most productive of them are outlined in a more or less systematic way, but in their application to a specific object they may however overlap.10

C H A P T E R 1: T H E E M E E P R O J E C T A N D I T ' S G O A L S

THE RE-INTERPRETION OF OBJECTS IN A TRANSREGIONALEUROPEAN PERSPECTIVE

BACKGROUND CIRCUMSTANCES OF THE OBJECTS’ PRODUCTION PROCESS Another approach to the transregional, European or cross-cultural dimensions of museum objects on site leads to the producers/manufacturers of an object. The possibility of the object being manufactured far from the current exhibition location has already been addressed before with regard to ‘provenance’. However, the reverse is also possible. Thus, an object may as well be manufactured locally, but by the hands of a foreign craftsman or artist in form of commissioned work, for instance, without being closely linked to the respective region. And even if the producer was closely linked to the region he can nevertheless have included various influences gained through (study) trips, trade fair visits, letters, books or also co-workers from other regions, so that he combined the local with transregional influences.

CULTURAL TRANSFER Even though the topic of transregional networks has already been addressed with regard to ’provenance‘

Credits: ????

and the manufacturers of museum objects, it nevertheless constitutes its own category of object consultation since these transregional networks can be relevant on various levels: firstly – as already suggested – in manufacturing the object and secondly in the distribution and reception of the object at its time, provided it was initiated or organised by transregional networks. Many things that commonly seem to be local traditions exhibit traces of transregional, European or cross-cultural exchange processes when taking a closer look whereby external influences – often from long distances – were included and in this way further adapted so that in the end they were understood as local traditions.

CULTURAL ENCOUNTERS AS TOPIC OF THE OBJECT Transregional, European or cross-cultural perspectives can easily be gained from objects with iconic and/or written statements that explicitly deal with topics such as cultural encounter, migration, or missionary or diplomatic activities, but also armed conflicts. Credits: ????

CHAPTER 1 CHAPTER 2 CHAPTER 3 CHAPTER 4

The transregional, European dimension of museum objects may be demonstrated also by pointing out that the object can be understood as a part of a large encompassing context, e.g. with regard to the style, the history of ideas or cultural practices. There are many museum objects that can be considered as a local representative of supra-regional or European phenomena respectively. A wide range of examples predominantly from the 19th century can be found when looking at the popularisation of local and regional ‘folkloric clothing’: Despite their intention to express a specific ‘old’ local or regional identity those (often: allegedly) ‘traditional costumes’ prove to be transnational commonalities insofar as such ‘old’ traditions were invented in many European places at the same time during the processes of modernization, industrialization, and ‘nation building’.

CHAPTER 5

C H A P T E R 1: T H E E M E E P R O J E C T A N D I T ' S G O A L S

ENCOMPASSING CULTURAL CONTEXTS

THE OBJECT DEPICTING THE PERCEPTION OF THE SELF AND THE OTHER Especially suited for the multi-perspective presentation are objects or also paintings which depict ‘other’ cultures and/or regions that are different from what is considered to be the ‘own’. Not only do those imaginations provide an impression of the concepts and ideas which existed at a certain time about ‘foreign’ regions and cultures, but also of the self-image of the producers since their imaginative projections are the basis for the construction of the ‘foreign’. The most obvious starting point, which can be found in many local and regional museums, is artwork that interprets and mixes biblical themes such as Jesus' birth in Bethlehem or the worship of the ‘Three Wise Men from the East’ with local or regional, but, in any case, autochthonous details. Similarly, presentations which focus on the topic of Europe and the other continents reflect the self-image of Europe and the perception of the own – allegedly: superior – position in the world. Even the way of presenting ‘exotic’ objects in a museum exhibition sometimes reveals more about the cultural self-concepts of the museum than about the foreign culture.

100

Credits: ????

Also interesting and important are objects which reflect the view of the ‘others’ or the ‘foreign’ on the own culture. Engaging with the unfamiliar exterior view on the elf not least encourages the question how ‘foreign’ our ideas of other cultures may appear to their members.

THE OBJECT AS AN ‘ICON’ It can be informative to examine whether the museum possesses objects which are perceived as ‘typical’ for the own or a foreign region, for the own or a foreign culture or also for Europe. The questions may thereby be illuminating why the objects are externally

‘OBJECT NARRATION’ – THE OBJECT AS A ‘WITNESS’ Finally, it is worthwhile to examine whether there are objects which not per se, but by means of connected events and the narration of this events ‘testify’ to transregional, European or cross-cultural connections. As example the moped shall be named here12 which was given to Armando Rodrigues from Portugal – the one millionth guest worker in Germany – as a welcome present on 10 September 1964 at the train station in Cologne-Deutz. There are many mopeds like this but there is only one that has ‘witnessed’ the event and was part of it. If an object such as this one is in the possession of the museum, then its – in this case transregional and cross-cultural – meaning entirely lies in the ‘narration’ connected to it.

idczuneit, V. and Sowade, H. (2004), D Zündapp Sport Combinette. Geschenk für den millionsten Gastarbeiter, edited by the Stiftung Haus der Geschichte der Bundesrepublik Deutschland. Cf. Fuhrmann, A.-L., Schumann, J., Popp, S., Schilling, S. and Mayer-Simmet, O. (2016), Making Europe Visible. Reinterpretation of Museum Objects and Topics. A Manual (EMEE Toolkit series, vol. 1), 124-126, Vienna: edition mono/ monochrom, available online: http:// www.museums-exhibiting-europe.de/ download/8248/, Accessed 11 August 2016.

101

CHAPTER 1 CHAPTER 2 CHAPTER 3

CHAPTER 4

I COM Europe (ed) (2010), Reflecting Europe in its Museum Objects, Berlin: ICOM Europe.

CHAPTER 5

C H A P T E R 1: T H E E M E E P R O J E C T A N D I T ' S G O A L S

or locally perceived as ‘typical’ or how this status of the ‘typical’ has emerged (e.g. also marketing, identity politics, tourism). The ICOM-volume11 may also be taken into consideration, in which the different museum directors in Europe present typically ‘European’ objects from their collections. Likewise, also the local public on site may be approached with the question which objects locally exhibited in the museum are perceived as ‘typically European’ and for what reasons. The presentation of the results will certainly reveal new meanings of the local objects.

Credits: ????

The approaches named above pose heuristic tools to examine and analyse the object inventory. They serve to make the transregional, European and cross-cultural dimension of objects and object groups of the cultural heritage on site accessible.

‘The EMEE project shows how European ties are deeply rooted in time and are present in a large spectrum of objects, kept in museums. In doing so, this project contributed enormously for the promotion of new regards on our European common heritage and opened new and extremely fruitful avenues for future planning in museums.’ Luís Raposo, President of ICOM Europe

102

1. THE OBJECT AS ‘MIGRANT’: What about European, or transregional, or cross-cultural dimensions in the story of migration of the object itself from the place of origin to its current place in the museum? 2. THE BACKGROUND OF THE MAKING OF THE OBJECT: What about European, or transregional, or cross-cultural dimensions in the history of the creation of the object? 3. CULTURAL TRANSFER BY MEANS OF TRANS-REGIONAL NETWORKS: What about European, or trans-regional, or cross-cultural

103

CHAPTER 1 CHAPTER 2 CHAPTER 3 CHAPTER 4 CHAPTER 5

C H A P T E R 1: T H E E M E E P R O J E C T A N D I T ' S G O A L S

The goal of the EMEE project is to uncover the implicit and often hidden European dimension of local museum objects and to visualize the intertwined character of local, regional, national, European, and trans-European layers of historical meanings of museum objects. This approach requires the practice of the Change of Perspective in all areas covered by the five EMEE Toolkits. Furthermore, it demands the combination and linking of these five facets. As an illustration of the practical implementation of the work with the Toolkits the EMEE partners developed so called Exemplary Units to test the concept of Change of Perspective on single museum objects (or object groups). After the selection of appropriate objects they started with detailed research on the (trans-)European dimension of the chosen example of the local cultural heritage in order ‘to make Europe’ visible in the object (EMEE TOOLKIT 1). Doing this they followed a scheme developed by EMEE and asked the following questions:

104

networks of cultural transfer and exchange related to the origin and distribution of the object? CULTURE-SPANNING CONTEXTS: What about the relation of the object to culture-spanning contexts with European, or trans-regional, or crosscultural ranges? CULTURAL ENCOUNTERS AS THEME OF THE OBJECT: What about cultural encounters within Europe or between Europe and the world being represented by the topic of the object? ASPECTS OF THE PERCEPTION OF THE SELF AND THE OTHER: What about images of the self and the other being represented by the object? THE OBJECT AS (CULTURAL) ICON: Can the object be regarded as a representation of a very typical or even idolized idea of European self-perception? â&#x20AC;&#x2DC;OBJECT-NARRATIONâ&#x20AC;&#x2122;: Is there a story (a narration) related to the object that has an implicit or explicit European, or transregional, or cross-cultural dimension?

In a second step the partners enriched the re-interpretation of the object by relating it to ideas of integrating a multicultural audience and of developing the museum as a Social Arena (TOOLKIT 2) as well as by appropriate concepts for the activation and participation of the visitors (TOOLKIT 3). These concepts were combined with ideas of synaesthetic translations and scenographic staging to underline the Change of Perspective (TOOLKIT 4). Finally, content-related proposals on the development of concepts of social web and media-supported interaction were added (TOOLKIT 5). Of course it is impossible to apply all aspects of EMEE-Change of Perspective to a single museum object. But this Exemplary Unit shows that there are more options than meet the eye at first glance. To demonstrate this experience is the main purpose of these Exemplary COP-Units.

1. the ‘Europeanization‘ of objects and museum presentations. The European dimension of the collection/exhibition inventory is made visible by suitable objects and topics, whereby the multilayered meanings reaching from local to regional and national to European and global shall be made experienceable. 2. the implementation of the EU guiding principles for the development of museums in Europe. In accordance with the EU strategies on cultural heritage the ‘Europeanization’ of museums further includes the following aspects:

EuroVision Lab. - Portugal - "How the Pre-Historic Men made their instruments" Carving worskhop by Archaeologist Pedro Cura at Museu Nacional de Arqueologia - Lisbon, Portugal. Photo: © National Museum of Archaeology, Portugal

ACTIVATING THE VISITORS With this innovative mediating approach, the visitors are invited to engage with exhibition topics and objects in a playful, inquiring and exploring or creative way. EuroVision Lab. - Christmas Eve @ Национален исторически музей / National Museum of History Christmas Eve @ National Museum of History in Bulgaria. Photo: © National Museum of History, Bulgaria

105

CHAPTER 1 CHAPTER 2 CHAPTER 3 CHAPTER 4 CHAPTER 5

Regarding museum work, the EMEE project understands the term ‘Europeanization’ as:

C H A P T E R 1: T H E E M E E P R O J E C T A N D I T ' S G O A L S

‘EUROPEANIZATION’ OF LOCAL, REGIONAL AND NATIONAL HISTORY MUSEUMS

ACTIVE CITIZENSHIP In fully keeping with the principles of democracy, active citizenship shall also be enhanced with regard to museum work — be it with regard to the choice and the interpretation of the objects, the discourse on an exhibition topic or the curatorial concept of an exhibition. The collection practices may also be critically questioned and newly aligned by ‘external voices’. Download EMEE Toolkit 3: Bridging-the-gap (activation, participation and role modification) [PDF] and/or EMEE Toolkit 2: Integrating multicultural Europe (Social Arena) [PDF].

Exhibition ‘Europe Through our Objects’ National Museum of Archaeology, Lisbon Portugal in the core on the activity A21 EuroVision LAB. Performance of Yuri Albert with ESPÉ de l’académie de CréteilUPEC, 2011 Photos: © National Museum of Archaeology, Portugal

106

Download EMEE Toolkit 3: Bridging-the-gap (activation, participation and role modification) [PDF].

EuroVision Lab. Pre-Work: Museum ‘speed dating’ Photo: National Museum of Contemporary History, Slovenia

107

CHAPTER 1 CHAPTER 2 CHAPTER 3 CHAPTER 4

In including the citizens in the museum work, ideally, a role modification occurs: not only do the citizens learn from the museum experts, but also the museum learns from the citizens. Thereby, it is all about a certain attitude of the museum experts team, which can be reflected in largescale as well as small-scale formats: already guided tours in dialogue form, where the visitors’ opinions and suggestions for interpretation are asked for and taken seriously, can lead to a different awareness in the interaction between institution and society.

CHAPTER 5

C H A P T E R 1: T H E E M E E P R O J E C T A N D I T ' S G O A L S

ROLE MODIFICATION BETWEEN MUSEUM EXPERTS AND VISITORS

MUSEUMS AS SOCIAL ARENA Museums can show their social relevance in opening up to current debates and the problems of present times and provide them with a platform by means of exhibitions and events. The multi-cultural society shall be invited to use the museum as a non-commercial meeting point to dwell, discuss and for entertaining purposes as well as to encounter its cultural heritage. Download EMEE Toolkit 2: Integrating multicultural Europe (Social Arena) [PDF].

Photo: © ESPÉ de l’académie de Créteil-UPEC, France

INTERNATIONALIZATION The perspectives of different countries on one topic or object can only be worked out in an international comparison, whereby European or even non-European references become apparent. Besides the internationalization on the level of content, also an internationalization of the museum practices is addressed, which can happen by means of cooperation of European museums in relation to the exchange of information, professional discourses, ideas for mediacy and object loans. Photo: © ESPÉ de l’académie de Créteil-UPEC, France

108

CHAPTER 2 CHAPTER 3 CHAPTER 4 CHAPTER 5

The primary goal of the EMEE project was to develop an innovative concept for museums, which was achieved with the concept of Change of Perspective (COP; i.e. the re-interpretation of museum objects, the relation between museum experts and visitors, the international exchange) and put to the test using ‘laboratories’ (i.e. the EuroVision Lab.s). The concept strives to emphasize the European dimension in existing collections of national, regional, and even local history museums in a way that links local, regional, and national perspectives on cultural heritage to European perspectives. In this way, visitors are encouraged — just like in a ‘school of perception’ — to discover European dimensions within the local heritage and vice versa, so that they realize that these are not two separate entities, but rather closely connected, coexisting and parallel points of view. The COP concept, however, is not confined to the re-interpretation of the cultural heritage in museums (COP 1). Given that multi-perspective and transregional expansions of perspectives on the cultural heritage on-site can only be effective if society as a whole is involved, the project employs activating and participatory approaches that aim to attract new visitor groups that have previously not been showing an interest in museums. On the whole, this makes it possible for museums to take into consideration and include the multitude of citizens’ interests in cultural heritage in a multicultural society (COP 2). Lastly, the international exchange of museum experts is equally important in this context, considering that this kind of exchange explores the European commonalities and regional differences between the cultural heritage of various European nations (COP 3).

CHAPTER 2: EMEE OUTCOMES

INTRODUCTION

CHAPTER 1

CHAPTER 2: EMEE OUTCOMES

109

MAPPING PROCESS The Mapping Process was an inventory taking activity in the beginning of the EMEE-project, selecting and analyzing best practice examples for ‘making Europe visible’ in national and regional museums. Moreover, lists of current research projects and publications about the topics ‘European perspectives in regional and national museums’, ‘bridging the social gap’ and ‘integrating the (non)-visitors’ have been compiled. All in all, the results of the mapping process, which are available on this e-book, provide an overview about the current museum discourse concerning the EMEE topics. The activity was carried out by all EMEE-project partners in the year 2013. For the EMEE team, a first step towards the implementation of the concept ‘Change of Perspective’ (COP) was to have a look at the groundwork done in the field of research (research projects and publications) as well as the critical analysis of best practice examples, in particular with regard to the COP 1 — Change of Perspective as European re-interpretation of objects — and COP 2 — Change of Perspective as change of perspective between museum experts and visitors (activation and participation).

110

Especially the best practice examples, which were analysed during about six months of research, provided valuable suggestions for the next steps of the project and also helped to get a clearer focus on aims and priorities of the EMEE-project. The Mapping Process was carried out in 7 European countries (Austria, Bulgaria, France, Germany, Italy, Portugal and Slovenia); however, in some cases, also examples from other countries were added. With regard to the COP 1 and COP 2, some basic observations of the Mapping Process can be stated: COP 1 Change of Perspective as European re-interpretation of objects: While looking for best practice examples, the particular difficulty for the participants of the project was the issue of trans-regional re-interpretations of collections and the presentation of objects on the basis of multi-perspectivity. It became clear that some of the exhibitions in fact already include trans-regional approaches; however, especially for classic ‘European topics’, there is the risk that again the interpretation is not multi-perspective but subordinated to classic

CHAPTER 1 CHAPTER 2 CHAPTER 3 CHAPTER 5

CHAPTER 4

CHAPTER 2: EMEE OUTCOMES

master narratives. It also became apparent that much more time needs to be spent on research and re-interpretation of objects regarding new issues and topics, in order to leave traditional perspectives behind. With regard to the synaesthetic realisation of exhibition contents, particularly project partner Uwe Brückner’s examples for the Mapping Process provided ideas which can be categorised and developed for the future project work. To sum up, with regard to the results of the COP 1, it can be stated that EMEE enters a relatively new field of research and the approach to interpret objects in a trans-regional, multiperspective way has not yet found widespread use in museums and exhibitions. COP 2 Change of Perspective as change of perspective between museum experts and visitors: Overall, the Mapping Process showed that participatory approaches — regarding exhibitions that include the visitor in the process of curating — have been tested in flagship projects, but the majority of the museums did not implement participatory elements yet. In contrast, research literature offers relatively comprehensive information on this possibility but the literature reviewed and the best practice examples evaluated by EMEE revealed that the inclusion of the visitor in the sense of a ‘participatory museum’ requires high personnel expenses and other costs. Therefore, participatory museum projects are by no means a surefire success which result the visitor’s acceptance by just calling for participation. However, there were rare examples in research literature which

111

did not focus on the visitor’s full participation (in the sense of user generated contents) but tried to find ways and possibilities to make the visitor get out of the role of the passive recipient and assume a more active role within the exhibition using other means (especially by including web 2.0 solutions). The results of the Mapping Process can be found in form of the following different summaries: An overview reports about selected best practice examples, written by Prof. Dr. Valentina Ganeva-Marazova, National Museum of History, Sofia, Bulgaria. The selected examples have been contributed and analysed by all EMEE-project partners. They can be downloaded as single PDF documents, classified under the following five categories: Making Europe visible (School of Perception); Integrating multicultural Europe (social arena); Bridging-the-gap (Activation, participation and role modification); Synaesthetic translation of perspectives; Social Web and Interaction. Moreover, also a list of research projects as well as a list of references has been compiled by Prof. Dr. Valentina Ganeva-Marazova out of the proposals of all EMEE-project partners.

112

For the EMEE-project, it can be stated that it was an important step to review the trends that characterize the present of European museums. To summarize the results of the various projects and studies and to study best innovative examples and practices in museum work of different countries helped to get an overview about the state of affairs concerning the Europeanisation and modernisation of museums. 2. OVERVIEW ABOUT SELECTED PRACTICAL EXAMPLES This résumé gives an overview about the key trends which become visible by comparing the selected practice examples.

Download [PDF]

CHAPTER 1 CHAPTER 2 CHAPTER 3 CHAPTER 5

CHAPTER 4

CHAPTER 2: EMEE OUTCOMES

3. SELECTED EXAMPLES The practical examples, selected by all EMEE project partners, have been classified in five categories according to the main topics of the EMEE project. Some examples are fitting in several categories, for which reason they are shown a number of times. The description and the review of each example can be found in the PDF document. Further information often can be found in the stated external links. 3.1 MAKING EUROPE VISIBLE TOOLKIT 1 To develop the Europeanization of museums, an important groundwork is to identify objects and European topics which help to find multi-perspective views: from the regional/national to the European and the global level of meaning in multicultural historical perspectives.

Download [ZIP]

113

3.2 INTEGRATING MULTICULTURAL EUROPE (SOCIAL ARENA)

3.3 BRIDGING-THE-GAP (ACTIVATION, PARTICIPATION AND ROLE MODIFICATION)

TOOLKIT 2 The museum as ‘social arena’ develops ideas and topics in order to involve the visitor in the discussion and the exploration of the cultural heritage of today’s multicultural Europe. It offers intercultural museum work that promotes social integration through dialogue and thus attracts new groups of visitors.

TOOLKIT 3 Museum visitors which are not yet engaged may be attracted by interactive involvement with objects and staging (e.g. hands on elements). By letting visitors express their own associations and connections to the cultural heritage it is possible to forge links between the professional perception of museum experts and the perspectives of laymen. This shall help the museums to recognize the fact that the significance of the cultural heritage is not static but is created in the process of individual and collective construction.

Download [ZIP]

114

Download [ZIP]

115

CHAPTER 3

CHAPTER 2

CHAPTER 1

Download [ZIP]

CHAPTER 4

TOOLKIT 5 The social media platforms (as Facebook, Twitter etc.) should be used by museums for an up-to-date public relations work. But also, they can be used as tools for the participation of (non)-visitors.

CHAPTER 5

TOOLKIT 4 The Toolkit is about scenography and its potential for a synaesthetic translation of perspectives. The first part introduces the basic parameters and tools of scenography as well as some strategies of staging museum objects. The second part is more practical in nature. It presents scenographic design concepts for staging trans-regional museum objects in a European context. They are visualized by sketches and show how to apply the parameters, tools and strategies to generate a Change of Perspective. AUTHORS: Uwe R. Brückner, Linda Greci

3.5 SOCIAL WEB AND INTERACTION

CHAPTER 2: EMEE OUTCOMES

3.4 SYNAESTHETIC TRANSLATION OF PERSPECTIVES. SCENOGRAPHY – A SKETCHBOOK

4. LIST OF RESEARCH PROJECTS

5. LIST OF REFERENCES

The list of research projects offers an overview about international projects which deal with the Europeanization and modernization of museums.

The publications which are compiled in the list of references have been selected by all EMEE project partners. The list gives an overview about the current museum discourse from an international perspective which means also that many publications are not written in English but in the partners’ languages. To help the reader, the main titles of the publications are stated also in English.

Download [PDF]

116

CHAPTER 1 CHAPTER 2 CHAPTER 3 CHAPTER 4 CHAPTER 5

The EMEE-project put into action intercultural concepts of ‘Bridging-thegap to non-visitors’ in close relation to the COP 2. Relations to non-visitor groups were established or updated as well as relations to professionals working in the cultural sector with a mediating role in the museum. The EMEE team implemented initial programmes enabling the visitors to articulate their perspective concerning objects and their country’s cultural heritage and present it as a contribution to the change of perspective in the museum.

CHAPTER 2: EMEE OUTCOMES

BRIDGING-THE-GAP

Download [PDF]

117

THE EMEE TOOLKITS AND EXEMPLARY COP-UNITS One of the special features of the EMEE project is that it does not settle for simply assembling a number of ‘best practice’ examples. Rather, the project highlights the close links between a theory-based concept and systematically developed ideas for practical execution, to lay the best possible groundwork for the museum’s own efforts in future. In this regard, the EMEE Toolkits fulfill an important role, especially in combination with corresponding workshops and a special study module, designed to ensure the successful integration of the central concepts of Change of Perspective (COP) in education and training for museum experts and other related roles working in the field of cultural heritage. At the beginning of the first stage of the project, the scientific and theoretical foundation for strengthening the multi-perspective and participative angle of the transregional and European dimensions that local, regional and national history museums encounter in their work were laid. Against this backdrop, the project team created the EMEE Toolkit series, consisting of five manuals and a collection of examples that offer an overview on the different approaches used in the manuals. With that being said, the primary task of the EMEE Toolkit series was and

118

still is to bridge the gap between theory and its application in a practical context and, consequently, to ensure the sustainability and viability of the central concepts of the EMEE project. Over the course of the project, however, working with the manuals provided a firm basis for the subsequent stage of the project, during which the project team and many partners of the EMEE network employed the concept of Change of Perspective in their EuroVision Lab. activities and in doing so, applied the ideas to a practical context. Toolkit 1: Making Europe visible. Re-Interpretation of museum objects and topics. A manual This Toolkit is dedicated to the COP 1, i.e. the Change of Perspective referring to the re-interpretation of a museum’s existing object collection. At the very heart here lies the development of European and transregional perspectives on objects that aim to reveal the close links between local, regional, national and European levels of meaning of the cultural heritage in Europe by using multi-perspective forms of presentation. More precisely, there are eight different approaches that can help analyze local museum objects to determine if and how they can ‘make Europe visible’. However, the intention is not for unilinear

CHAPTER 1 CHAPTER 2 CHAPTER 3 CHAPTER 5

Toolkit 2: Integrating multicultural Europe. Museums as Social Arenas In comparing the museum to a Social Arena, the EMEE project puts forward the view that the concept of Change of Perspective needs to take into consideration the visitor’s perspective on the local cultural heritage, if a museum is to become a vibrant social space where cultural identities in a multicultural society can be discussed and negotiated. Thus, the goal is for the negotiation of cultural heritage to yield new insights into the discussion of those issues in today’s society, that are on our minds — and, vice versa, the goals is to put a new complexion on museum objects. In this context, not only the strengthening of European dimensions of perceiving cultural heritage is emphasized, but also the intimate links between European (and global) aspects and local interrelationships. The authors of this Toolkit conceptualized the volume as a handy tool for daily use by museum staff and museum enthusiasts, but also as a ‘quick fix’ whenever fresh inspiration is urgently needed.

CHAPTER 4

CHAPTER 2: EMEE OUTCOMES

regional and national perspectives on cultural heritage to be replaced by ‘Eurocentric’ perspectives. Rather, the goal is to deconstruct unilinear interpretations for the benefit of ‘shared histories’ that are closely linked to many objects. In this sense, it is also possible for the perspective to transcend the historical space of Europe.

Download Toolkit 1 in English [PDF] Download Toolkit 1 in German [PDF]

Download Toolkit 2 in English [PDF] Download Toolkit 2 in German [PDF] Download Toolkit 2 in Slovene [PDF]

119

Toolkit 3: Bridging-the-gap. Activation, participation and role modification This Toolkit includes strategies that can enable museums to create more attractive approaches to cultural heritage, in particular for those, who usually do not visit museums. This is also a crucial part of the EMEE concept. After all, strengthening the European dimension of cultural heritage and opening up transnational and cross-cultural contexts can only be successful if the interests and perspectives of a socially multilayered audience are visibly represented both in the museum and also in negotiating the cultural heritage.

Download Toolkit 3 in English [PDF]

120

The first part of this volume provides an overview on existing ‘barriers’ against the museum being accessible. The second part employs examples of best practice to describe how these barriers can be overcome. In this regard, including the visitors and encouraging them to actively participate are the key elements when it comes to the practical application of ‘audience development’. Toolkit 4: Synaesthetic translation of perspectives. Scenography - A Sketchbook A multi-layered interpretation and presentation of museum objects that simultaneously visualizes regional and transregional, national and European levels of meaning and encourages visitors to reflect on these interconnections and their own perspectives constitutes an ambitious goal that requires, among other things, the development of scenographic approaches that are able to provide a synaesthetic translation of the field of perspectives. Against a backdrop of dynamic and multicultural societies, scenography is a vital element for strengthening the European dimension of cultural heritage. This is shown by Toolkit four, which, in its first part, introduces basic parameters and tools of scenography, as well as general

CHAPTER 3

CHAPTER 2

CHAPTER 1

Toolkit 5: Social Web and Interaction. Social media technologies for European national and regional museums Today, there are new technologies available for the unfolding of a dialogical variety of perspectives when dealing with material culture and people discussing cultural heritage. They can support the presentation of multi-layered object interpretations in a museum, but, more importantly, they can visualize the visitorsâ&#x20AC;&#x2122; impressions and perspectives and thus generate lively discussions. Therefore, working with social media technologies constitutes an integral part of the EMEE conceptâ&#x20AC;&#x2122;s Change of Perspective. Toolkit 5 offers support when it comes to understanding and applying interactive information and social media technologies for national and regional museums in Europe. Web 2.0 applications such as Facebook, Twitter and Google+ are not just an added bonus. Rather, it is essential for the development of museums to employ these communication channels efficiently. The goal must be to share and spread knowledge and also to facilitate open and effective communication with museum visitors and non-visitors on all kinds of museum topics.

CHAPTER 5

CHAPTER 4

CHAPTER 2: EMEE OUTCOMES

strategies for presenting objects in a museum. The second part deals with scenographic concepts suitable for practical application that allow for a multi-layered presentation of museum objects that also lends itself to visitor participation. These concepts are illustrated with the help of sketches that show, how the aforementioned parameters, tools and strategies can be employed to visualize the Change of Perspective.

Download Toolkit 4 in English [PDF]

Download Toolkit 5 in English [PDF] Download Toolkit 5 in German [PDF]

121

Toolkit 6: European perspectives on museum objects. Selected examples on the Change of Perspective The goal of the EMEE project is to uncover the implicit and often hidden European dimension of local museum objects and to visualize the intertwined character of local, regional, national, European, and trans-European layers of historical meanings of museum objects. This approach requires the practice of the Change of Perspective in all areas covered by the five EMEE Toolkits. Furthermore, it demands the combination and linking of these five facets. As an illustration of the practical implementation of the work with the toolkits the EMEE partners developed so called ‘exemplary units’ to test the concept of Change of Perspective on single museum objects (or object groups). Exemplary COP units The five EMEE Toolkits refer to these different levels of museum practice and show that the re-interpretation of objects requires methods, which consistently connect the different levels of practice and take into consideration ideas from all of the five Toolkits when developing an exhibition. The EMEE team designed

122

Download Toolkit 6 in English [PDF]

33 so-called ‘Exemplary COP-Units’ that bring together the five Toolkits in order to demonstrate how the concept of Change of Perspective can be applied to the respective museum objects (or object groups). They serve as an illustration of how to apply the comprehensive concept of Change of Perspective to the museum practice. Based on Toolkit 1, the team chose 33 museum objects – with many partners laying emphasis on selecting objects, which can be considered representative of the object types that are exhibited at many history museums. Consequently, the time span covered by the selected objects ranges from ancient history

CHAPTER 1 CHAPTER 2 CHAPTER 3 CHAPTER 5

CHAPTER 4

CHAPTER 2: EMEE OUTCOMES

to the present. In accordance with the notion that it is not only the European self-image, but also the non-European view that has the potential to open up new perspectives, the selected objects stemmed from different continents and not exclusively from Europe. Once the appropriate objects had been selected, the project partners started a detailed research on the (trans-)European dimension of the local cultural heritage represented by the chosen exemplary object in order â&#x20AC;&#x2DC;to make Europe visibleâ&#x20AC;&#x2122; in those artefacts. The research, which was often very time-consuming, followed detailed guidelines to ensure that different ideas of how to re-interpret objects in a transregional way were properly taken into account. Furthermore, the EMEE partners worked with the all of the five Toolkits to make sure that the variety of different COP-levels was integrated when thinking about object presentation: Thus for example the selected items were combined with scenographic ideas, and while the partners employed ideas from the Social Media Toolkit, they tried to pay particular attention to the question of how visitors could be encouraged to actively participate in the interpretation of the objects on display. The Exemplary COP-Units fulfilled a major task during the EMEE project: They served as a first step in the process of implementing the COP in a practical context, they functioned as a basis for developing the EuroVision Lab.s and they acted as a groundwork for the collaboration with the members of the EMEE network. Lastly, they formed the foundation for the announcement of the Young Scenographers Contest, since the exemplary objects were supposed to provide the competitors

123

with inspiration. The submitted competition entries showed the astonishing level of productive enthusiasm, with which many young scenographers approached the topic of the Exemplary COP-Units and also demonstrated, what steps they took to develop the examples further and beyond the already existing ideas of the COP.

EUROPEAN PERSPECTIVES ON MUSEUM OBJECTS SELECTED EXAMPLES ON THE CHANGE OF PERSPECTIVE Susanne Schilling, Cinzia Angelini, Günther Download

Friesinger, Susanne Popp (eds)

THE BELL BEAKER AFFAIR ONE OBJECT, MANY QUESTIONS by Mário Antas, Isabel Inácio, Luís Raposo Scenographic exhibition concepts (Toolkit 4): Uwe Brückner, Linda Greci Download

ENCOUNTERS ON SCREEN NAMBAN, CULTURAL CONTACTS WITH EUROPEANS SEEN FROM A NON-EUROPEAN PERSPECTIVE by Angela Frenkel, Christina Speer, Susanne Download

Schilling, Jutta Schumann, Susanne Popp Scenographic exhibition concepts (Toolkit 4): Uwe Brückner, Linda Greci

124

Scenographic exhibition concepts (Toolkit 4):

Uwe Brückner, Linda Greci

Download

EUROPE'S PERCEPTION OF ITSELF AND OF OTHERS MEISSNER ALLEGORIES OF THE CONTINENTS FROM THE HABERSTOCK FOUNDATION Download

by Angela Frenkel, Christina Speer, Susanne

THE MYSTERIES OF TRANSITION PILGRIMAGE, TRANSFORMATION AND CHANGE by Tzvetana Kyoseva, Valentina GanevaMarazova, Tatyana Shalganova Download

Schilling, Jutta Schumann, Susanne Popp

Scenographic exhibition concepts (Toolkit 4): Uwe Brückner, Linda Greci

Scenographic exhibition concepts (Toolkit 4):

THE DANCE OF DEATH

Uwe Brückner, Linda Greci

by Urška Purg, Katarina Kogoj

EUROPE IN A BALLOON

Scenographic exhibition concepts (Toolkit 4):

by Arnaud Mayrargue, Jean-Marie Baldner,

Uwe Brückner, Linda Greci

Christophe Le François Scenographic exhibition concepts (Toolkit 4):

CHAPTER 2

CHAPTER 1

Schumann, Susanne Popp

CHAPTER 3

Ernesta Todisco

by Cinzia Angelini, Andrea Ciasca Marra,

CHAPTER 4

by Christina Speer, Susanne Schilling, Jutta

CHAPTER 2: EMEE OUTCOMES

TIME'N'RHYTHM

CHAPTER 5

Download

MADE IN EUROPE MADE IN CHINA

Download

Uwe Brückner, Linda Greci Download

125

JUST A WHEEL AWAY BRIDGING BORDERS by Urška Purg, Katarina Kogoj

PUPPETS INSTEAD OF WEAPONS: PUPPET THEATRES DURING WW2

Scenographic exhibition concepts (Toolkit 4):

by Urška Purg

Uwe Brückner, Linda Greci

Scenographic exhibition concepts (Toolkit 4):

Download

WHAT IS THE POINT(ING)? INNOVATION THROUGH REPRODUCTION THE GESTURE OF INDICATION IN EUROPE Download

by Anika Kronberger, Günther Friesinger

Uwe Brückner, Linda Greci

IT'S REVOLUTION TIME! by Urška Purg, Kaja Širok, Janja Štefanič Scenographic exhibition concepts (Toolkit 4): Uwe Brückner, Linda Greci Download

Scenographic exhibition concepts (Toolkit 4):

ENIGMA: SOLVING A MYSTERY

A TALE OF ELEPHANTS AND BISHOPS – THE ADAPTION OF CHESS THROUGHOUT EUROPE

by Urška Purg, Janja Štefanič

by Martin Hochhuber, Christina Speer

Uwe Brückner, Linda Greci

Scenographic exhibition concepts (Toolkit 4): Uwe Brückner, Linda Greci Download

126

Download

Scenographic exhibition concepts (Toolkit 4): Download

Uwe Brückner, Linda Greci

OPPOSING COCA-COLA. MARKETING STRATEGIES TO RULE EUROPE

OPEN/ CLOSED/ OPEN KEYS AND LOCKS IN EUROPE THROUGH THE CENTURIES

by Anika Kronenberger, Clara Gallistl

by Andrea Ciasca Marra Scenographic exhibition concepts (Toolkit 4):

Download

ALL ROADS LEAD TO ROME

Uwe Brückner, Linda Greci

RUNNING OUT OF TIME EUROPEAN ART AND LITERATURE DEALING WITH PERCEPTION OF TIME

by Emma Nardi, Andrea Ciasca Marra Scenographic exhibition concepts (Toolkit 4): Uwe Brückner, Linda Greci

by Ernesta Todisco Download

CHAPTER 3 CHAPTER 4

Paolo Campetella

CHAPTER 2

CHAPTER 1

by Christina Speer

by Cinzia Angelini, Andrea Ciasca Marra,

CHAPTER 5

Download

MIMESIS THEATRICAL MASKS IN EUROPE

CHAPTER 2: EMEE OUTCOMES

LUXURY CLOCKS FOR THE SULTAN EUROPEAN CLOCKS AND WATCHES AS PRESTIGE OBJECTS

Download

127

BIFACE AGE by Isabel Inácio, Luis Raposo,

SO THE GAME BEGINS. LET’S PLAY!

Mário Antas

by Isabel Inácio, Luis Raposo, Mário Antas

Download

MOSAIC – DESIGNED FOR ILLUSION

THE CYRILLIC ALPHABET IN EUROPE AND BEYOND

by Isabel Inácio, Luis Raposo,

by Tsvetana Kyosseva, Tatyana Shalganova,

Mário Antas

Valentina Ganeva-Marazova Scenographic exhibition concepts (Toolkit 4):

Download

READING THE UNREADABLE

Uwe Brückner, Linda Greci

THE FRAGILITY OF TOLERANCE THE SALVATION OF JEWS IN EUROPE

by Isabel Inácio, Luis Raposo, Mário Antas

by Tsvetana Kyosseva, Tatyana Shalganova, Valentina Ganeva-Marazova Download

Download

Scenographic exhibition concepts (Toolkit 4): Uwe Brückner, Linda Greci

128

Download

François, Arnaud Mayrargue Scenographic exhibition concepts (Toolkit 4):

THE GOLD CUP OF THE KING EUROPEAN STATE AND ROYAL INSIGNIA

Uwe Brückner, Linda Greci

ENTERING THE MUSEUM WITH THE CURRENCY OF OTHER EUROPEANS

by Tsvetana Kyosseva, Tatyana Shalganova, Valentina Ganeva-Marazova Download

by Jean-Marie Baldner, Christophe Le François, Arnaud Mayrargue

TELL ME WHAT YOU EAT YOUR LUNCH OFF: EUROPEAN ILLUSTRATED PLATES AND CUPS

Download

Uwe Brückner, Linda Greci

François, Arnaud Mayrargue

PRINT IT FRENCH, PRINT IT EUROPEAN

Scenographic exhibition concepts (Toolkit 4):

by Jean-Marie Baldner, Christophe Le

Uwe Brückner, Linda Greci

François, Arnaud Mayrargue

by Jean-Marie Baldner, Christophe Le Download

Scenographic exhibition concepts (Toolkit 4):

Download

129

CHAPTER 2

CHAPTER 1

Download

CHAPTER 3

by Jean-Marie Baldner, Christophe Le

CHAPTER 4

Valentina Ganeva-Marazova

CHAPTER 5

by Lyubava Konova, Tatyana Shalganova,

AT MIDNIGHT IT WILL BE TEN. UTOPIA AND TRADITION IN THE MEASUREMENT OF TIME IN FRANCE AND EUROPE

CHAPTER 2: EMEE OUTCOMES

PAINTED GREEK POTTERY SYMPOSIUM IN ANCIENT EUROPE

THE EMEE WORKSHOPS AND THE EMEE STUDY MODULE Apart from the five EMEE Toolkits, the Exemplary COP-Units and the establishment of a widespread EMEE network, the seven EMEE Workshops and the EMEE study module occupy a key role in ensuring dissemination, sustainability and utilization/exploitation of the project’s ideas and its outcomes. In general, the workshops and the study module can be seen as a contribution to the training, both vocationally and on-the-job, of experts that work within the museum field but also for experts on the mediation of history like history teachers. During the actual working process of the project the workshops were mainly used for the collaboration with the museums of the EMEE network, with the project’s key ideas being introduced during these workshops. In return, the project team regularly received constructive comments and valuable feedback. Moreover, the workshops and the study module facilitated the promotion and dissemination of the EMEE project (e.g. by conducting workshops during specialist conferences) and also found their way into the EuroVision Lab.s.

130

Photo: © Urška Purg

THE EMEE WORKSHOPS Five of the EMEE Workshops are closely related to the five Toolkits. They offer participants an opportunity to actively and cooperatively work in groups to become familiar with the ideas and the concept of the Change of Perspective and, most importantly, to relate them to their own role and the museum in question. Thus, the workshops are designed to intensify the interconnection between theory and requirements in a practical context. The workshops that are closely linked to the EMEE Toolkits can all be easily recognized by their title:

CHAPTER 3

CHAPTER 2

CHAPTER 1

In addition, two other workshops were developed: Workshop 6: Change of Perspective by Involving of New Audiences and Artists [ZIP], focuses on artistic conveyance and intervention in museums and thus complements the EMEE concept perfectly; Workshop 7: Scenography – the Potential to Provoke a Change of Perspective [ZIP], however, emphasizes once again the important role of scenography. All EMEE Toolkit workshops were designed as one-day seminar courses that come together nicely to form a holistic method of putting the EMEE concept into effect in an effective way, while also adapting it to varying conditions and contexts in the respective museum on-site. It has to be noted that due to the flexible structure of the workshop concept, all one-day seminar courses can also be used autonomously to meet the needs of the museum staff. Moreover, given that the structure of the five workshops is standardized, even mixed workshops including elements from different workshops are feasible and easy to organize.

CHAPTER 5

CHAPTER 4

CHAPTER 2: EMEE OUTCOMES

— Workshop 1: One Object – Many Visions – EuroVisions (related to Toolkit 1) [ZIP] — Workshop 2: Museums as a Social Arena (related to Toolkit 2) [ZIP] — Workshop 3: Activation, Participation and Role Modification (related to Toolkit 3) [ZIP] — Workshop 4: How to Use Scenography for the Synaesthetic Translation of Perspectives? (related to Toolkit 4) [ZIP] — Workshop 5: Social Web and Interaction (related to Toolkit 5) [ZIP].

Photos: © ESPÉ de l’académie de Créteil-UPEC, France

131

THE EMEE STUDY MODULE

Photos: © ESPÉ de l’académie de Créteil-UPEC, France

Every workshop consists of a package, including the guide for the instructor and the guide for the participants, as well as theoretical sections, work materials and worksheets, which are all ready for use. In addition, the toolkits are also available in case the instructor wants to delve deeper into a topic or use some of the further examples which are also included in the Toolkits.

132

Contrasting to the workshops, the Study Module is more concerned with a theoretical approach to the EMEE concept, although it goes without saying that practical exercises are used frequently during the practice sections, which usually also give students an opportunity to consider the link to museums in their own vicinity. The first 3 of 15 sections of the study module focus primarily on the basic questions of the EMEE concept, such as the theory of multiperspectivity in the academic discipline of History Didactics, the key elements of EU policies concerning the cultural heritage in Europe as a factor of social integration, or the question of concepts of ‘European identity’ and how they are related to the varying regional, national and cultural identities of European citizens. The following sections of the study module include topics that, similarly to the Toolkits, focus on different key aspects of the EMEE concept. The study module is characterized by the fact that every single section provides materials such as readings and exercises for students, which all make

CHAPTER 1 CHAPTER 2 CHAPTER 3 CHAPTER 5

CHAPTER 4

CHAPTER 2: EMEE OUTCOMES

sure to define the aims of each section clearly and which also include PowerPoint presentations, as well as additional information for the instructor. Finally, each section offers extensive references to relevant secondary literature that makes it easier for both instructors and students to read up on the topics. As a general rule, the study module can be employed effectively and irrespectively of the practical application of the EMEE concept as part of various educational (and/or vocational) purposes at universities, academies or universities of applied science that are related to museums, cultural history or History Didactics.

Photo: ÂŠ University Roma Tre, UniversitĂ Degli Studi

133

YOUNG SCENOGRAPHERS CONTEST

The EMEE Young Scenographers Contest with the motto One Object – Many Visions – EuroVisions was an international and interdisciplinary design competition and part of the research project EMEE. The core idea was the EMEE concept of COP, a method for re-interpreting objects and object groups revealing the complex diversity of meanings. Responsible for the concept, organization and implementation of the contest were Uwe R. Brückner and Linda Greci from ATELIER BRÜCKNER. International students and young professionals of design, scenography, architecture and other creative disciplines, as well as museum and cultural studies were invited to create ideas and develop design concepts for staging museum objects and topics in a trans-regional European context applying the EMEE concept of COP. This way the simultaneous appreciation of objects as elements of the local, regional, national and European culture heritage can be experienced. At the same time the goal was to find new trans-cultural

134

approaches for content-consistent design concepts and new, contemporary formats of presentation. The contest also aimed to experience the perception of young and ambitious designers: how does the younger generation perceive Europe? How would they approach European cultural heritage? Which objects would they choose, and how would they present them within a European context? The assignment of the task was to develop a holistic scenography and to generate a synaesthetic translation of EMEE-perspectives — from content into space. The partners of the EMEE project selected, prepared and proposed different museum objects with European references and cross-cultural meanings (see EXEMPLARY COP-UNITS). The objects were offered on the contest webpage to be downloaded and used as inspirational suggestions. But the participants were also given the possibility to come up with other topics of European relevance like music, migration, nutrition, literature, language, and so on, as well as the respective objects with European dimension and multiple perspectives. Part of the assignment was to think about an authentic space that forms a harmonious unit with the exhibition concept.

CHAPTER 1 CHAPTER 2 CHAPTER 3 CHAPTER 5

CHAPTER 4

CHAPTER 2: EMEE OUTCOMES

The space could be an existing exhibition space of an actual museum, or a newly designed modular and mobile travelling pavilion for indoor or outdoor positioning, which can travel to various European countries. The symposium One Object – Many Visions – EuroVisions was the kick-off event of the contest, and took place on the 31st of October 2014 at the Staatliche Akademie der Bildenden Künste Stuttgart. It served as an international discussion platform on the topic of ‘How to Make Europe Visible in the Museum?’ giving inspiration and ideas. Internationally renowned speakers from different disciplines (designers, curators, scientists, museologists, historians) were invited to share their experiences. The EMEE Young Scenographers Contest was a very successful and inspiring competition, with more than 100 registrations and 60 submissions of innovative and content-consistent design proposals; most of them with a courageous and experimental approach to the assignment of task. The students who took part came from different creative disciplines and universities all over Europe: Basel, Graz, Hasselt, Hildesheim, Berlin, Ljubljana, Potsdam, Kiel, Lisbon, Karlsruhe, Sofia, Utrecht, Mainz, Coburg and others. During the pre-selection, 29 projects out of 60 entries were nominated for the shortlist (see the catalogue) to be evaluated at the jury meeting of the EMEE Contest that took place on the 20th of February 2015 at the Institute for Interior Design and Scenography, Academy of Art and Design, FHNW, in Basel.

135

The jury discussed and judged the 29 pre-selected entries and nominated four projects for the EMEE Young Scenographers Award. The evaluation criteria for the jury were: — Content: making new, trans-national European dimensions visible in a local/regional/national museum object, and creating a ‘Change of Perspective’

136

— Scenography: synaesthetic translation of perspectives generating multiple access to an object or topic — Concept: quality, consistency and clarity — Innovation: creativity, innovative idea and contemporary design approach — Presentation: quality and readability of presentation — Pavilion or architecture: quality and impact of space

CHAPTER 1 CHAPTER 2 CHAPTER 3 CHAPTER 5

Jury chairman Prof. Dr. h.c. Ruedi Baur, designer, Integral Ruedi Baur, Institut Civic city, Zürich, Switzerland/Paris, France

CHAPTER 4

CHAPTER 2: EMEE OUTCOMES

The jury of the contest consisted of an international and interdisciplinary board:

Jury leader and coordinator Jury members — Experts from outside of the EMEE-project: Frank den Oudsten, designer, teacher, writer, performer, The Netherlands — Prof. Dr. phil. Pamela C. Scorzin, critic and professor of Art History & Visual Culture Studies, Fachhochschule Dortmund, Germany — Univ. Doz. Dr. Karl Stocker, Head of Institute Design and Communication, FH JOANNEUM, University of Applied Sciences Graz, Austria. — Members of the EMEE project: EMEE Partners Prof. Uwe R. Brückner and Linda Greci M.A., ATELIER BRÜCKNER, Stuttgart, Germany — Prof. Dr. Susanne Popp, Chair of History Didactics, University of Augsburg, Germany — Prof. Dr. Emma Nardi, ICOM Ceca President, University Roma Tre, Rome, Italy — Univ.-Lekt. Mag. Günther Friesinger, monochrom, Vienna, Austria — Prof. Dr. Kaja Širok, director, National Museum of Contemporary History, Ljubljana, Slovenia — Ass. Prof. Dr. Valentina Ganeva-Marazova, National Museum of History, Sofia, Bulgaria — Prof. Dr. Luis Raposo, National Museum of Archaeology, Lisbon, Portugal — Prof. Dr. Christophe Le François, visual artist and professor, ESPÉ de l’académie de Créteil-UPEC, Paris, France.

137

The public awards ceremony took place, organizationally supported by the partner monochrom (Vienna), within the Designmonat Graz on the 7th of May 2015, in cooperation with the FH JOANNEUM and the Museum im Palais, in Graz, Austria. Four entries were awarded the EMEE Young Scenographers Award: 1st prize 2.000 € — 2nd prize 1.000 € — 3rd prize 750 € — 4th prize 500 €. The catalogue of the travelling exhibition presents the competition shortlist of 29 projects that were evaluated during the jury meeting: the winners (place 1–4), the 1st runner up (place 5–11) and the 2nd runner up (place 12–29). The catalogue aims to give an insight into the creative and sophisticated design concepts of the international participants coming from different disciplines. Editors of the catalogue: Linda Greci, Uwe R. Brückner, ATELIER BRÜCKNER But mainly this catalogue documents the Young Scenographers Exhibition that presents the eleven best projects of the contest — the winners and the 1st runner up — to an international public, and that traveled to different European cities: From Graz to Ljubljana, Sofia, Lisbon, Paris, Brussels and Basel. (More information about the EMEE Young Scenographers Contest on the website: www.emee-young-scenographers-contest.eu).

138

THE WINNERS 1st prize Mirjam Scheerer (Interior Design and Scenography, Academy of Art and Design, FHNW, Basel) Did you hit the jackpot? A multi-perspectival exhibition on guest-labour in the post-war period ‘… the project reflects the Europe-wide labour migration movement making the visitor playfully aware of a multi-facetted historical event. The topic is smartly and impressively translated from a personal, individual level, into a collective, European issue and at the same time from content into space: Five individual biographies offering five perspectives represent the storytelling and the spatial structure of the exhibition…’ (Comment by the jury) 2nd prize Stephanie Gindlstrasser and Johanna Köttritsch (Design & Communication/Exhibition Design, FH Joanneum, Graz) (Art) Europallet. The first European Product? ‘… the ‘(art) europallet’ as the centrepiece of the installation is a bold, amazing object choice. It is expressively set staged in an unusual way: It ‘floats’

CHAPTER 1 CHAPTER 2 CHAPTER 3 CHAPTER 5

CHAPTER 4

CHAPTER 2: EMEE OUTCOMES

in the space, meets the visitor on eye level and lets him experience new points of view. ‘(Art) europallet’ deals with the fact that the daily carrier, which represents standardization in contemporary European culture, is turned into a migrant protagonist…’ (Comment by the jury) 3rd prize Valerie Keusch (Interior Design and Scenography, Academy of Art and Design, FHNW, Basel) Contemporary Witness Olivetti M40kr. An emotional journey through four typewritten letters addressing the end of the Second World War ‘The Olivetti M40kr. typewriter composes the core of the exhibition and represents the starting point of a journey through four letters referring to the end of the Second World War. The four letters from different persons of diverse nationalities make it possible for the same historical event to be experienced from different and surprising perspectives which is one of the basic ideas of the EMEE project.’ (Comment by the jury) 4th prize Victoria Orrom (Interior Design and Scenography, Academy of Art and Design, FHNW, Basel) Cultures transforming value ‘The project presents Europe-Asian trade relations during the 18th century, stressing the unfamiliar insight that Europe tried to copy Chinese originals and techniques. It's about the value of the core exhibit — a porcelain chinoiserie —, from different perspectives of culture, tra-

139

dition, time and place. Thus the concept is clear and consistent applying the Change of Perspective on the reflection of European cultural heritage as intended by the EMEE project…’ (Comment of the jury)

THE TOURING EXHIBITION The winners’ submissions and seven other contributions were shown as part of the touring exhibition One Object – Many Visions – EuroVisions in seven countries across Europe and constituted an integral part of the EuroVision Lab.s of the EMEE project’s museum partners. All in all, the touring exhibition travelled some 7,500 kilometers and counted well over 20,000 visitors. As part of the EuroVision Lab.s, another 93,700 visitors saw the exhibition. In addition to the exhibition itself, an exhibition catalogue was published, which introduced the four prize-winning projects and the other 25 shortlisted submissions. The catalogue aimed to provide an overview on the broad range of ideas that competitors had come up with in response to the task of presenting objects from a transregional/ European angle.

140

2014 REGISTRATION FOR COMPETION: June 15 COMPETION LAUNCH: October 31 SCENOGRAPHERS SYMPOSIUM: November 28 2015 2015 JURY MEETINGS: January 30 / February 4 – 13 / February 20 JURY RESULTS: March AWARDNG CEREMONY AND EXHIBITION: May 7-8 2015 – 2016 TOURING EXHIBITION: May 2015 – June 2016 Graz/Austria – Museum im Palais: May 8 – June 7 2015 Ljubljana/Slovenia – National Museum of Contempary History: September – October 2015

CHAPTER 1 CHAPTER 2 CHAPTER 3 CHAPTER 5

CHAPTER 4

CHAPTER 2: EMEE OUTCOMES

Sofia/Bulgaria – National Museum of History: November - December 2015 Lisbon/Portugal – National Museum of Archaeology: February - June 2016 Paris/France – ESPÉ de l’académie de Créteil-UPEC September - October 16 Brussels/Belgium November 7-18 Basel/Switzerland

EMEE Young Scenographers Contest - Award Ceremony - Graz, May 2015

141

Travelling Exhibition. First Venue: Museum in Palais Graz Photos: © Monochrom Kunstverein, Austria

EMEE Young Scenographers Contest winners exhibition @ Museu Nacional de Arqueologia. Photo: © National Museum of Archaeology, Portugal

Young Scenographers Contest Travelling exhibition. @ EuroVision Lab. Muzej novejše zgodovine Slovenije!. Photo: © National Museum of Contemporary History, Slovenia

Young Scenographers Contest in France. Exhibitions at ESPÉ de l’académie de Créteil-UPEC. Photos: © ESPÉ de l’académie de Créteil-UPEC, France

142

CHAPTER 1 CHAPTER 2 CHAPTER 3 CHAPTER 5

CHAPTER 4

CHAPTER 2: EMEE OUTCOMES

FOR MORE INFORMATION

Contest Flyer (Digital)

Young Scenographers Contest Catalogue

143

Contest Poster

144

Symposium Flyer (Digital)

CHAPTER 1 CHAPTER 2 CHAPTER 3 CHAPTER 4 CHAPTER 5

The development and presentation of the so-called ‘EuroVision Lab.s’ with the tagline One Object – Many Visions – EuroVisions constituted an integral part of the EMEE project, as these efforts aimed to test the theoretical concepts of Change of Perspective in a practical context. The exhibitions organized by the museums showed the re-interpretation of topics from a European/ transregional perspective or demonstrated with individual object examples what a re-interpretation according to the EMEE concept could look like. Many of these exhibitions were designed to encourage participation, which allowed former non-visitor groups to form new perspectives on the topics and objects. Similarly, using social media (Toolkit 5) contributed to establishing new communication channels – especially among younger audiences – and to make them a bigger part of the exhibition planning. Another important objective of EuroVision Lab.s was to ensure that visitors would not just perceive the museum as a ‘storage place’ and place for exhibiting objects: in line with the re-interpretation of objects from a European/ transregional perspective, the EuroVision Lab. showed that museums can be a place where cultural heritage can be re-negotiated and re-interpreted against the backdrop of the problems and questions of today. Museums encourage visitors to become active citizens, to form an opinion and to participate. Consequently, the EuroVision Lab.s were accompanied by an extensive programme including cultural events, opportunities for participation, talks and workshops for visitors. All of these efforts played their part in preventing visitors from perceiving the museum solely as a storage place for objects.

CHAPTER 2: EMEE OUTCOMES

EUROVISION LAB.S

Photo: © ESPÉ de l’académie de Créteil-UPEC, France

145

Considering the experimental nature of the EuroVision Lab.s, the museums involved in the EMEE project decided to present the Lab.s with the help of a modular system. In addition to the exhibitions on the reinterpretation of topics and objects, the Lab.s showed the results of the Young Scenographers Contest and the so-called ‘Eurobarometer’, where objects as ‘European/transregional’ objects were put up for discussion. While the participating national museums in Portugal, Bulgaria and Slovenia aimed to implement in their Lab.s all the aspects mentioned above, the university partners in France, Germany and Italy, as well as the Austrian artist group monochrom worked with their partner museums to create smaller EuroVision Lab.s that revolved around the aspect of Change of Perspective. On the whole, the EuroVision Lab.s could be found in seven European countries and had more than 130,000 visitors. The exhibition of the Young Scenographers Contest, which was part of the Lab.s, also took part in seven European countries.

146

Labs. of museum partners: More about the EuroVision Lab. in Bulgaria More about the EuroVision Lab. in Portugal More about the EuroVision Lab. in Slovenia Labs. of non-museum partners: More about the EuroVision Lab. in Austria More about the EuroVision Lab. in France More about the EuroVision Lab. in Germany More about the EuroVision Lab. in Italy Flyers: EuroVision Lab. in Bulgaria [Download] EuroVision Lab. in Portugal [Download] EuroVision Lab. in Slovenia [Download] EuroVision Lab. in Austria [Download] EuroVision Lab. in France [Download] EuroVision Lab. in Germany [Download] EuroVision Lab. in Italy [Download]

CHAPTER 1 CHAPTER 2 CHAPTER 3 CHAPTER 5

CHAPTER 4

CHAPTER 2: EMEE OUTCOMES

Film material reflecting and documenting the EuroVision Lab.s

EuroVisionLab. in Marktoberdorf und Kaufbeuren. The EMEE Change of Perspective in City Museums

All roads lead to Rome. Experiencing the EMEE Change of Perspective

EuroVision Lab. Lisbon Feb 2016 - "Europe Through Our Objects"

EuroVision Lab. Vienna Sep 2015 - "Digital Migration"

EuroVision Lab. Bulgaria - "Follow the road"

EuroVision Lab. "Europe In A Ballon" - Bridging-The-Gap To Non Visitors

EMEE Documentary 'One Object Many Visions EuroVisions'

147

EUROVISION LAB. BULGARIA EUROVISION LAB. OF THE NATIONAL MUSEUM OF HISTORY, SOFIA The exhibition The Fragility of Tolerance played a key role in the Bulgarian EuroVision Lab., exploring and depicting the topic of the Bulgarian salvation of the Jews during the Holocaust from multiple perspectives and a comparative European perspective in particular. Apart from taking into consideration the topic’s transregional aspect, Bulgaria’s National History Museum also incorporated an experimental approach: With regard to making the topic more accessible, the object presentation was strongly influenced by scenographical elements. Moreover, at many stages during the exhibition, visitors were encouraged to actively participate and to express their own opinion on the topic. In the spirit of participation, the museum had also worked with the 134th High School Dimcho Debelyanov, a Jewish School, in Sofia before the opening of the exhibition in order to learn about their understanding of the topic. Finally, the exhibition project paid particular attention to a focus group ‘people with special needs’, that had been selected prior to the opening. With the help of this visitor group, the museum expanded its program to improve accessibility.

148

Photo: © National Museum of History, Bulgaria

In order to offer a re-interpretation of objects from a European perspective outside of the exhibition itself, the Bulgarian National History Museum also showed selected objects in other areas of the museum, once again adding a specifically European angle. As part of the project Follow the Road, for example, visitors had the chance to explore the objects with the help of an interactive game. Consequently, the project first and foremost aimed to address young adults, but also the above mentioned focus group of people with special needs.

CHAPTER 1 CHAPTER 2 CHAPTER 3 CHAPTER 5

‘The idea was to show people the shared European history. The EMEE project is a new way to see the objects, to approach them, to see them in new light and to understand them better and to show the public what they couldn’t see with only one visit in the museum.’ Petar Stefanov, National Museum of History Bulgaria, Photo: © National Museum of History, Bulgaria

CHAPTER 4

CHAPTER 2: EMEE OUTCOMES

These two initiatives were accompanied by the presentation of the Eurobarometer and the results of the Young Scenographers Contest, which had been dedicated to the tagline One Object – Many Visions – EuroVisions. Both elements of the EuroVision Lab. exhibition were wellsuited to encourage a discussion on changes to a transregional perspective with visitors of the museum. The Bulgarian EuroVision Lab. was rounded out by an extensive accompanying program that included a number of workshops and cultural events: Among them were the performance of the concertmaster of the Royal Concertgebouw Orchestra of the Netherlands and the performance of Vesko Eschkenazy, who performed the film score of Schindler’s List. The exhibition The Fragility of Tolerance was eventually turned in a touring exhibition, that also incorporates an experimental approach to engage visitors in active discussions on topics such as ‘ethnic tolerance’ and ‘lessions learned from WW2’. So far, the touring exhibition has been shown at five locations across different regions of Bulgaria.

EMEE partner

149

ELEMENTS OF THE EUROVISION LAB. YOUNG SCENOGRAPHERSCONTEST TRAVELLING IN BULGARIA EXHIBITION – NATIONAL MUSEUM OF HISTORY THE FRAGILITY OF TOLERANCE – NATIONAL MUSEUM OF HISTORY The exhibition is developed on the theme of tolerance and acceptance of others, through the story of the salvation of Jews in Europe during World War II. It is situated around one main object – the Star of David – one of the main symbols of the Jewish people of European and world importance. The exhibition is in the spirit of the EMEE leading ideas recreated by changing the perspective, scenography and 3D mapping solutions. The innovative, synesthetic approach helps visitors to co / relive history. The exhibition is adapted for visitors with special needs. 9th November 2015 until 29th February 2016 Poster [Download]

150

The awarded works of EMEE – Young Scenographers Contest will be on display in this travelling exhibition which remains open from 9th November 2015 until 9th December 2015 INTERACTIVE GAME ‘FOLLOW THE ROAD’NATIONAL MUSEUM OF HISTORY Interactive game ‘Follow this road’: a fun way to ‘detect’ objects with a European dimension and interregional significance. 9th November 2015 until 29th February 2016 MOBILE EXHIBITION – MUSEUM PARTNERS IN BULGARIA The exhibition ‘The Fragility of Tolerance’ has a mobile version that can be adapted to satellite partner organizations. The main theme is further developed and enriched by the presentation of local cultural memory and history. Change of Perspective will contribute to activating the audience and shortening the distance between museums and non-visitors. December 2015 until February 2016

CHAPTER 1 CHAPTER 2 CHAPTER 3 CHAPTER 5

CHAPTER 4

CHAPTER 2: EMEE OUTCOMES

COMPLEMENTARY PROGRAM FOR CHILDREN AND YOUTH – NATIONAL MUSEUM OF HISTORY A series of accompanying initiatives for children and youth in the National Museum of History, on the subject of tolerance and attitude to the others. WORKSHOP BRIDGING-THE-GAP BETWEEN STUDENTS AND MUSEUM – NATIONAL MUSEUM OF HISTORY The workshop topics related to the exhibition ‘The Fragility of Tolerance’, the physical and intellectual accessibility of museum exhibitions. Participants are history teachers from schools in Sofia and museum experts. 9th November 2015 Flyer EuroVision Lab. in Bulgaria [Download]

151

RESULTS REPORTS: Warm-up for the EuroVision Lab. in Bulgaria: Museum Experts in Bulgaria applaud ‘EuroVision. Museums Exhibiting Europe’ at a sequence of three training workshops. Download [PDF] Warm-up for the EuroVision Lab. in Bulgaria: ‘Mini EuroVisions’ at the National Museum of History – The youth ‘Discovers’ Europe. Download [PDF] Bridging the gap between the museum and its social distant friends: An initiative of the National Museum of History, Sofia, Bulgaria. Download [PDF] ‘Tolerance – in the past and today’. Workshop at the National History Museum, Sofia/Bularia opens launched a series of initiatives and events implemented under the slogan One Object – Many Visions – EuroVisions. Download [PDF]

152

‘The Fragility of Tolerance’. The Bulgarian National Museum of History opened its EuroVision Lab. exhibition with music from ‘Schindler´s List’, performed by Vesko Eschkenazy. Download [PDF] Briding the ‘Museum-School-Gap’. EuroVision Lab. workshop for teachers of History and museum professionals at the National Museum of History, Sofia/Bulgaria held on 18th November 2015. Download [PDF] Change your perspective: Grade 7 students in the role of young history researchers. EuroVision Lab Workshop at the National Museum of History, Sofia/ Bulgaria. Download [PDF] ‘Synaesthetic translation of the perspective’. EMEE Lab. Workshop run sucessfully in the National Museum of History in Sofia on December 16th 2015. Download [PDF]

CHAPTER 1 CHAPTER 2 CHAPTER 3 CHAPTER 5

CHAPTER 4

CHAPTER 2: EMEE OUTCOMES

PHOTOS

Workshop with Bulgarian museum experts Plovdiv January 2015. Warm-up for the EuroVision Lab in Bulgaria. Photo: © National Museum of History, Bulgaria

Mini EuroVisions at the National Museum of History. The youth ‘Discovers’ Europe. Photo: © National Museum of History, Bulgaria

Bulgarian EuroVision Lab: ‘Briding the Museum-School-Gap’. Workshop for teachers of History and museum professionals at the National Museum of History, Sofia/Bulgaria held on 18th November 2015. Photo: © National Museum of History, Bulgaria

Workshop ‘Synaesthetic Translation of Perspective’ @ National Museum of History 2015-12-16. Photo: © National Museum of History, Bulgaria

‘Tolerance – in the past and today’. Workshop at the National History Museum, Sofia/Bulgaria launched a series of initiatives and events implemented under the slogan One Object – Many Visions – EuroVisions. Photo: © National Museum of History, Bulgaria

153

EUROVISION LAB. PORTUGAL EUROVISION LAB. OF THE NATIONAL regions. In doing so, visitors were encouraged to ponMUSEUM OF ARCHAEOLOGY, LISBON der the question of a ‘Europe before Europe’ and to The exhibition Europe Through our Objects constituted the central element of the Portuguese EuroVision Lab. Five exemplary objects were re-interpreted from multiple perspectives including a transregional angle and presented in an innovative way that encouraged interaction between the museum and its visitors and emphasized contemporary relevance. This approach was motivated by the intention to challenge and go beyond traditional methods of presentation and to adapt to today’s viewing patterns. The five selected objects constituted the starting point for workshops, as well as for a series of lectures and practical activities. What distinguished the Portuguese EuroVision Lab. was the National Archaeology Museum’s attempt to lend an additional transregional and European perspective to objects that had existed long before before the nation states and the political ‘Europe’ came into being. Crucial to this successful attempt was the museum’s emphasizing commonalities between the ‘Portuguese’ objects and objects from different regions in Europe, but also the highlighting of extensive trade relations and cultural exchanges between these

154

reflect on the contemporary relevance of the objects. Based on research on underrepresented visitor groups of the museum that had been conducted prior to the Lab., the National Museum of Archaeology paid special attention to the visitor groups of senior citizens and young families. These visitor groups were taken into account not only with regard to the exhibition concept, but particularly with regard to the extensive accompanying program that revolved around specifically developed workshops (one example is the workshop Europe Piece by Piece: A New Look at the Past for senior citizens).

Photo: © National Museum of Archaeology, Portugal

CHAPTER 1 CHAPTER 2 CHAPTER 3 CHAPTER 5

CHAPTER 4

CHAPTER 2: EMEE OUTCOMES

Similar to the project’s other museum partners, the Portuguese EuroVision Lab. presented the results of the Young Scenographers Contest and the Eurobarometer. The latter was designed to encourage discussion and active participation and also to communicate visitors’ statements from previous Lab. locations to the Portuguese audience. Some elements of the Eurobarometer such as the Zeigerpointer developed by the EMEE partner monochrom, an international art-technology- philosophy group, were also playfully employed as a mode of addressing and engaging visitors during the National Museum Day.

Photos: © National Museum of Archaeology, Portugal

‘There is no project like this one in our public administration, this is unique. It is very important for us, because this is an old museum, this museum was founded in 1893, and with this project, we rebuild the way to communicate with people, public and non-public, all the visitors. We bring to the museum another form of communication.’ Dr. António Carvalho, Director of the National Museum of Archaeology Lisbon and EMEE partner, on the Portuguese EuroVision Lab.

155

ELEMENTS OF THE EUROVISION LAB. WORKSHOP FOR EXPERTS IN PORTUGAL Activation and participation of visitors EXHIBITION ‘EUROPE THROUGH OUR OBJECTS’ Exhibition in the National Museum of Archaeology with some of the objects selected as COP exemplary units, which depict not only the trans-nationality of their use within different European regions. Each object will be highlighted every month with a dedicated public speaking. The exhibition remained open from February 22nd 2016, until May 31st 2016. YOUNG SCENOGRAPHERS CONTEST TRAVELLING EXHIBITION The awarded works of EMEE – Young Scenographers Contest will be on display in this travelling exhibition which remained open from December 18th 2015, until January 17th 2016.

156

For museums to continue pursuing their mission and engage with all kinds of audiences, it is imperative that their staff works as a whole, understanding their job in the complex reality of linking collections and people. These workshops objective is to develop activities, following the concepts of Change of Perspective. Using the objects on display in the ‘Europe through our objects’ exhibition, Museum staff and Museum professionals are challenged to participate in several workshops that will happen throughout the duration of the exhibition: —E urope Piece by Piece: a new look to the past Engaging Museum: one object, many visions — Come to where the objects are! — To see the unseen —R eaching out: Social Web for Museum Professionals

CHAPTER 1 CHAPTER 2 CHAPTER 3 CHAPTER 5

CHAPTER 4

CHAPTER 2: EMEE OUTCOMES

WORKSHOP FOR VISITORS Activities for seniors, families and children Exploration activities for families, children, and senior visitors of Europe Through our Objects exhibition. A diversified mediation program will be created, which will allow the visitors, particularly the target groups, to reinterpret the objects on display in a European perspective. The activities outputs will be displayed in the Museum and in Social Media platforms. LAB ACTIVITY â&#x20AC;&#x201C; COMPLEMENTARY PROGRAM Conferences and Lectures A series of conferences and lectures will be held in the National Museum of Archaeology, in order to amplify the knowledge and stimulate the reinterpretation of the objects, focusing on a European perspective. Flyer EuroVision Lab. in Portugal [Download]

157

RESULTS REPORTS: Warm-Up to the Portuguese EuroVision Lab.: The National Museum of Archeology Lisbon/Portugal started its Lab with the Workshop ‘Social Web and Interaction’ on 26th October 2016 sucessfully. Download [PDF] Warm-Up to the Portuguese EuroVision Lab.: The National Museum of Archeology Lisbon/ Portugal presented its second Lab. workshop ‘Multiple Senses of a Museum – The Importance of Scenography in Museums’ on 9th November 2016. Download [PDF] Opening of the EMEE EuroVision Lab. Exhibition ‘Europe Through (Our) Objects – One Object, Many Visions’ in the National Museum of Archeology in Lisbon on February 22, 2016, at 18.00. Download [PDF]

158

PHOTOS Warm-Up EuroVision Lab. - Worskhop Social Web and Interaction @ Museu Nacional de Arqueologia 26-Oct-2016. Photo: © National Museum of Archaeology, Portugal Warm-Up EuroVision Lab. - Workshop Multiple Senses of a Museum. Photo: © National Museum of Archaeology, Portugal

"Europe through our objects: One Object Many Visions" exhibition @ Museu Nacional de Arqueologia. Photo: © National Museum of Archaeology, Portugal

CHAPTER 1 CHAPTER 2 CHAPTER 3 CHAPTER 5

In July 2015, the National Museum of Contemporary History in Ljubljana presented the very first EuroVision Lab. and thus rang in a new phase of applying those ideas that were developed in the Toolkits and Exemplary COP-Units to a practical context. In doing so, the Slovenian Lab. created the foundation for numerous elements that later on became part of other partners’ Lab. exhibitions: The so-called ‘Eu robarometer’ encouraged visitors to discuss the European meaning of the objects on display. Moreover, the Slovenian project partner exhibited a series of pictures (including captions) that showed curators, partners of the EMEE project and visitors with their favorite objects, each of which could be re-interpreted from a European/transregional perspective. Similarly, visitors had for the first time the chance to see the EMEE Young Scenographers Contest as part of a EuroVision Lab. Although these three elements played a crucial role in the EuroVision Lab.s and had a major influence on the work of other project partners, there were other core elements of the Slovenian Lab., too. For example, there was an exhibition called Time Capsule, which was also organized by the National Museum of Contemporary History. With their exhibition design resembling the interiors of a living room of the 20th century, the museum implemented its notion of an experimental and participatory presentation within a museum setting. Prior to the exhibition opening it had been observed that young adults only make up a

CHAPTER 4

EUROVISION LAB. OF THE NATIONAL MUSEUM OF CONTEMPORARY HISTORY, LJUBLJANA

CHAPTER 2: EMEE OUTCOMES

EUROVISION LAB. SLOVENIA

159

very small fraction of museum visitors and as a consequence, a focus group comprised of this particular audience had been created. Several of those young adults selected their favorite objects, which could all be re-interpreted from a transregional/European perspective. They also pitched in with their ideas for conceptualizing the exhibition and assisted with the exhibition’s catalogue and the accompanying program. The exhibition itself encouraged visitors to touch the objects, to engage with them and to conduct their own research. During the Museum Tea Parties that were hosted directly in the exhibition area looking like a living room, young visitors and experts discussed their ideas for the museum as an institution of the future. While the EuroVision Lab.s were still exhibited, the Slovenian partners also worked on a series of pictures that would be shown as a touring exhibition by other partners of the EMEE network. This series of pictures showed statements from museum experts and visitors alike and put the transregional/European meaning of a given object up for debate. Its tagline was Museums – the Creative Laboratories and while

160

it has been shown at three different museums so far, it is planned to be shown at another ten locations in Slovenia in future. ‘The exhibition that we are opening today and celebrating within the EMEE project is what I always dreamed about how museums should be. It’s a place of sharing, it’s a place of accepting diversity and at the same time it’s a place where younger are meeting the elder people and where everyone is free to collaborate within the exhibitions.’ Prof. Kaja Širok Ph.D., Director of the National Museum of Contemporary History Slovenia and EMEE partner, on the Slovenian EuroVision Lab

Flyer EuroVision Lab. in Slovenia [Download]

CHAPTER 1 CHAPTER 2 CHAPTER 3 CHAPTER 5

CHAPTER 4

CHAPTER 2: EMEE OUTCOMES

RESULTS Warm-up for the EuroVision Lab. in the National Museum for Contemporary History in Ljubljana: Museum ‘speed dating’ as a way of working with museum experts and non-visitors. Download [PDF] First EuroVision Lab. opened its doors! The National Museum of Contemporary History, Ljublijana, Slovenia, invites you to the first out of total seven EuroVision Lab.s (Report about the Lab. opening 05/08/15). Download [PDF] First EuroVision Lab.’s catalogue is here! The National Museum of Contemporary History in Ljubljana/Slovenia reflects the whole process of its EuroVision Lab. in a catalogue. Download [PDF] Take part in the Museum Tea Parties at the National Museum of Contemporary History, Ljubljana/Slovenia, running on 4th, 11th and 17th November 2015! Download [PDF] EuroVision Lab. in Ljubljana: Series of Museum Tea Parties. November 4th, 11th, 17th 2015 in National Museum of Contemporary History, Slovenia. Download [PDF] Culture day closed Slovene EuroVision Lab. with a Children´s workshop at the National Museum of Contemporary History in Ljubljana. Download [PDF]

161

MATERIAL

EuroVision Lab. Catalogue of the first experimental exhibition Ljubljana/ Slovenia â&#x20AC;&#x201D; September 2016 [PDF]

Read EuroVision Lab Open Publication in Issuu

162

CHAPTER 1 CHAPTER 2 CHAPTER 3 CHAPTER 5

CHAPTER 4

CHAPTER 2: EMEE OUTCOMES

PHOTOS Please enjoy the photo glimpses on the Lab. happenings and events.

Warm-up for the EuroVision Lab in the National Museum for Contemporary History in Ljubljana: Museum "speed dating" as a way of working with museum experts and non-visitors . Photo: © National Museum of Contemporary History, Slovenia

EuroVision Lab. opening @ Muzej novejše zgodovine Slovenije! . Photo: © National Museum of Contemporary History, Slovenia

Young Scenographers Contest Travelling exhibition @ EuroVision Lab. Muzej novejše zgodovine Slovenije! . Photo: © National Museum of Contemporary History, Slovenia

Culture day @ National Museum of Contempary History in Ljubljana. Culture day closed Slovene EuroVision Lab. with a Children´s workshop at the National Museum of Contemporary History in Ljubljana. Photo: © National Museum of Contemporary History, Slovenia

1st MTP Examples of good practices EuroVision Lab. Ljubljana: Series of Museum Tea Parties. Photo: © National Museum of Contemporary History, Slovenia

163

VIDEO CLIPS Some content is captured also in a video format, where the main exhibition objects are introduced to you by the curators in order to bring you closer with the museum experts and what they find important about the presented object.

EuroVision Lab. Slovenia July 2015: ETA 80 Telephone - Design for Europe of the 80ies. Photo: © National Museum of Contemporary History, Slovenia

EuroVision Lab. Slovenia July 2015: "The teddy bear and the Italian passport". Photo: © National Museum of Contemporary History, Slovenia

EuroVision Lab. Slovenia July 2015: 35mm Iskra NP-21. A slovene film projector exported to the world. Photo: © National Museum of Contemporary History, Slovenia

EuroVision Lab. Slovenia July 2015: An empty vase full of (European) memories. Photo: © National Museum of Contemporary History, Slovenia

EuroVision Lab. Slovenia July 2015: Fiat 600, Zastava 750 - Fico - European views on a legendary car. Photo: © National Museum of Contemporary History, Slovenia

EuroVision Lab. Slovenia July 2015: "The execution of Maximilian of Hasbsburg". An European motive? Photo: © National Museum of Contemporary History, Slovenia

164

CHAPTER 1 CHAPTER 2 CHAPTER 3 CHAPTER 4

The EuroVision Lab.of the Austrian partner monochrom consisted of four different elements and took place not only in Vienna, but also in Graz and Lindabrunn during 2015 and 2016. Central to the Lab. was the exhibition Zeigerpointer. The Wonderful World of Absence, which was developed collaboratively with students of the course Exhibition Design offered by the FH Joanneum, a university of applied sciences in Graz. Its results were presented at the Nomad Museum VSL in Lindabrunn. The exhibition was based on a previously developed Exemplary COP-Unit, which, however, was considerably extended and completed by interactive elements. It was the exhibition’s goal to highlight new and noteworthy perspectives on the topic and to encourage visitors to reflect on the question of perspective. In addition to this focal Lab. exhibition, the Austrian group of artists was involved in another EuroVision Lab. activity: During the paraflows festival, they presented the ideas and concepts of the EMEE’s Change of Perspective. It is worth mentioning that during discussions, a connection was established between the EMEE concepts and the festival’s central topics, i.e. ‘digital migration’ and ‘identity in a digital world’. Moreover, the presentation of the results of the Young Scenographers Contest was also part of the Austrian Lab. activities and took place at the Museum im Palais – Universalmuseum Joanneum in Graz.

CHAPTER 5

THE EUROVISION LAB. OF THE ART ASSOCIATION MONOCHROM IN VIENNA

CHAPTER 2: EMEE OUTCOMES

EUROVISION LAB. AUSTRIA

Photos: © Monochrom Kunstverein, Austria

165

For the very first time, the concepts, plans, models, photos and room minstallations dedicated to the re-interpretation of European museum objects were shown to the public. Rounding out the program of the Austrian EuroVision Lab., two workshops designed specifically for students at school covered the topics ‘Objects as Migrants’ and the Exemplary COPUnit of monochrom’s Zeigerpointer. ‘For every facet of human existence there is undoubtedly someone engaging with the subject through their artwork. Museums and cultural centers no matter how widely varying their subjects can make good use of and give support to this creative impulse by bringing practicing artists into their exhibitions, spaces, and events that they host. The shortterm goal is to integrate more artistic approaches in classical exhibitions and to bring more art and culture to the people outside of the museum.’ Report of EMEE partner monochrom on their EuroVision Lab. activities and their future work with museums

166

ELEMENTS OF THE EUROVISION LAB. IN AUSTRIA YOUNG SCENOGRAPHERS CONTEST TRAVELLING EXHIBITION A new view on European cultural heritage! The Young Scenographers Contest surprises with outstanding works. The results of the European design contest are presented at the Museum im Palais in Graz from May 8th to June 7th 2015 – an exhibition in the course of Designmonat Graz. Plans, models, photos and room installations are dedicated to the presentation of European museum objects. PARAFLOWS FESTIVAL. DIGITAL MIGRATION. LAB TALK. WHAT IS THE POINT(ING)? INNOVATION DURCH REPRODUKTION. Activation and participation of visitors The LAB. TALK ‘What is the point(ing)? Innovation durch Reproduktion.’ is the starting point for the EMEE EuroVision Lab. for monochrom. In collaboration with our associated partner, the paraflows festival, the festival for digital arts and culture with the this years theme: ‘digital migration’ we

CHAPTER 1 CHAPTER 2 CHAPTER 3 CHAPTER 5

CHAPTER 4

CHAPTER 2: EMEE OUTCOMES

are able to spread the ideas of EMEE and put them also in practice. The paraflows exhibition and the symposium deal with the very recent topic of migration in its multiple facets from data migration to the migration of people, ideas and objects. The topic of our LAB. TALK is a general overview on the EMEE-project and on the concept of the ‘Change of Perspective’ but also an invitation to the wonderful world of Zeigerpointer. EXHIBITION ‘ZEIGERPOINTER. THE WONDERFUL WORLD OF ABSENCE’ Exhibition in the Nomad Museum VSL/Lindabrunn with our selected object the exemplary unit: the Zeigerpointer. In cooperation with the students of ‘Exhibition Design’ of the university of Applied Sciences the FH JOANNEUM in Graz the exhibition is developed and put on display in Lindabrunn. The Zeigerpointer (a German-English word-mix tautology) is depicted in a series of twelve oil paintings. They were commissioned by monochrom and painted by Chinese copy painters in Dafen. The templates for the oil paintings were local newspapers clippings showing crime scenes in which the witness was shown pointing to a place where the incident took place to underline the evidence of occurrences. Such photographs can often be found in local newspapers as visual proof of the written words. Pointing to formerly existing or virtual objects assigns meaning. Paintings and sculptures showing people pointing, for example in Leonardo da Vinci ’s (1513-16) depiction of St. John the Baptist pointing to heaven or Napoleon pointing the way on ‘Bonaparte Crossing the

167

Alps at the St. Bernard Pass’ by Jacques-Louis David (1800-1801), can be found very often throughout European art history from Christian iconography to the present. Pointing itself is a gesture intended to direct and change the common perspective of where the recipient should focus his/her attention and to make the absent visible and believable. The exhibition was shown from April 16th 2016, until May 29th 2016.

RESULTS REPORTS LAB. TALK ‘What is the point(ing)? Innovation durch Reproduktion’. Starting point of the EMEE EuroVision Lab. in Austria by monochrom, 15th September 2015, Vienna/Austria. Download [PDF] PHOTOS

Flyer EuroVision Lab. in Austria [Download]

LAB TALK ‘What is the point(ing)? Innovation durch Reproduktion’. Starting point of the EMEE EuroVision Lab in Austria by monochrom, 15th September 2015, Vienna/Austria. Photo: © Monochrom Kunstverein, Austria

168

CHAPTER 1 CHAPTER 2 CHAPTER 3 CHAPTER 4

The French EuroVision Lab. drew attention to its research on strategies to connect with so-called ‘non-visitors’ and, against this background, employed especially artistic projects in a museum setting as a means of changing perspective. With this goal in mind, the COP Toolkits were discussed and examined with numerous partners in the run-up to the French EuroVision Lab. Among these museum partners were the Centre Georges Pompidou, the Musée d'Art Contemporain du Val-de-Marne, the Musée de l’air et de l’espace, the Musée des Arts et Métiers, the Louvre Museum and the La petite Galerie. During the Lab. phase, the French project partners took these discussions as a starting point to conduct closely interconnected workshops with students, museum experts and artists. Moreover, the French team focused on adolescents with a migration background as a specific target audience. In an attempt to spark their interest in museums, members of this target group were for example invited to take part in school workshops on Exemplary COPUnits such as Europe in a Balloon. As a result of the successful collaboration between artists, university staff and museum experts, the French Lab. presented – among other things and in addition to its various workshops – two intervening art projects in museums, each of which was based on one of the Exemplary COP-Units that were developed for the EMEE project. At SaintOmer, Musée de l’Hôtel Sandelin (Pas-de-Calais), which is an art and

CHAPTER 5

THE EUROVISION LAB. OF THE UNIVERSITY PARIS-EST CRETEIL

CHAPTER 2: EMEE OUTCOMES

EUROVISION LAB. FRANCE

Photo: © ESPÉ de l’académie de Créteil-UPEC , France

169

history museum, contemporary artist Marie Hendriks showed her work, which was dedicated to cultural transmutations between Chinese and European chinoiserie. Her art project was also made a subject of discussion during visitor workshops. Moreover, contemporary artist Jérôme Progin explored the findings of coins from numerous European locations on the battlefield of Peene and put his work up for debate at the Maison de la Bataille Noordpeene. While planning their Lab. activities, the EMEE partners from the Paris-Est Créteil University were able to benefit from their cooperation with the Federation of Visual Artists and Authors Network (FRAAP), which had been intensified during several workshops over the course of the duration of the project. Furthermore, and as part of their Lab. activities, the French partners showed the Young Scenographers Contest and its concepts of how to present transregionally reinterpreted objects at four locations in Paris.

Photo: © ESPÉ de l’académie de Créteil-UPEC , France

‘The project´s international scope was decisive in raising our awareness of the problems shared, for example on the restricted historical reading of objects present in national or regional collections, the existence of a shared European culture and the difficulties in reaching certain target groups of people.’ Report of EMEE partner ESPÉ de l’académie de Créteil-UPEC on the EMEE project

170

CHAPTER 1 CHAPTER 2 CHAPTER 3 CHAPTER 5

YOUNG SCENOGRAPHERS CONTEST TRAVELLING EXHIBITION – ESPÉ DE L’ACADÉMIE DE CRÉTEIL-UPEC The awarded works of EMEE – Young Scenographers Contest will be on display in this travelling exhibition which was shown March 2016. University library of Créteil (February-March), Bonneuil-Sur-Marne ÉSPÉ (April), Livry-Gargan ÉSPÉ (May) and Saint-Denis ÉSPÉ (June).

CHAPTER 4

CHAPTER 2: EMEE OUTCOMES

ELEMENTS OF THE EUROVISION LAB. IN FRANCE

WORKSHOP FOR EXPERTS Making Europe visible Cultural partnership Activation and participation of visitors These workshops' aim is to acquire professionnal skills in order to develop activities, following the concept of Change of Perspective. Using the resources developed and proposed by the EMEE-project, participants are challenged to participate in several workshops that will happened throughout the year 2016. Partners: Art-exprim, Centre Georges Pompidou, Fédération des Réseaux et Associations d’Artistes Plasticiens, Espace 36, MAC VAL, Musée de l’air et de l’Espace, Musée des Arts et Métiers, Musée du Louvre, Musée de l'hôtel Sandelin, Musée de la Bataille.

171

WORKSHOP FOR YOUNG ADULTS – ESPÉ DE L’ACADÉMIE DE CRÉTEIL-UPEC Exploration activities of Europe, for master students and young teachers, with the resources developed and proposed by the EMEE-project. A diversified program is created, which allows the participants to reinterpret objects in a European perspective. The activities outputs were displayed in the University and on Social Media platforms. Young teachers developed research about cultural partnership and implemented pedagogical projects with target groups. PARTNERSHIP WITH CONTEMPORARY ARTIST Projects with museums, contemporary artists and visitors A series of workshops was held in partnership with the FRAAP, in order to disseminate the knowledge and to stimulate new approaches in the regions. Two specifics projects are developed with contemporary art associations, Art-Exprim and Espace 36. Flyer EuroVision Lab. in France [Download]

172

RESULTS REPORTS Report: ‘Cultural activities, european perspectives and target groups’. A series of EuroVision Lab. activities of ESPÉ de l’académie de Créteil-UPEC in close cooperation with ‘La FRAAP’ comes to its end. Download [PDF] Report: EMEE EuroVision Lab. in France October 2015 – January 2016: Five steps to implement the concepts and tools of EMEE in practise with master students – A summary. Download [PDF]

FLYER Download: [English] [French]

CHAPTER 1 CHAPTER 2 CHAPTER 3 CHAPTER 5

CHAPTER 4

CHAPTER 2: EMEE OUTCOMES

PHOTOS

Workshop at Paris, Organized by ESPÉ de l’académie de Créteil-UPEC in partnership with Art-Exprim, Espace 36 and FRAAP. Photo: © ESPÉ de l’académie de Créteil-UPEC , France

EuroVision Lab. France. Do you see Europe here? Workshops with students and young teachers of ESPÉ de l’académie de Créteil-UPEC. Photo: © Université Paris-Est Créteil, Ecole Supérieur du Professorrat et de L´Éducation, France

173

EUROVISION LAB. GERMANY THE EUROVISION LAB. OF THE UNIVERSITY OF AUGSBURG During its EuroVision Lab. activities, the German partner, namely the University of Augsburg, tested the implementation of the EMEE concept especially in three regional city museums, with the re-interpretation of objects and topics from a regional and European perspective being the main focus. The EMEE partners, namely the Stadtmuseum Marktoberdorf (City Museum Marktoberdorf) and the Museum für Kunst und Kulturgeschichte Dortmund (Museum of Art and Cultural History Dortmund) showed selected examples of museum objects for which they had developed a new European/transregional perspective in addition to the previous regionally-oriented object interpretation. Furthermore, the Museum für Kunst und Kulturgeschichte Dortmund and the Stadtmuseum Kaufbeuren (City Museum Kaufbeuren) organized exhibitions with transregional topics: The exhibition entitled The Münsterstraße. Dortmund’s Colourful Pavement analyzed the multicultural background and history of the street’s inhabitants, while the City Museum Kaufbeuren presented stories of migration, with the members of local com-

174

munities serving as the narrators. Both exhibitions were organized as projects that encouraged proactive participation. Citizens of the two cities were invited to work as co-curators and added their own ideas and perspectives to the exhibitions. Apart from this cooperation with regional museums, the EuroVision Lab. of the University of Augsburg included lectures and workshops to spread and promote the ideas of the COP concept. In this context, special emphasis was put on a lecture series that was organized in collaboration with the Kunstsammlungen und Museen Augsburg (Art Collections and Museums Augsburg) and entitled Cultural Heritage Controversial – Challenges for Museums in the 21st Century. Seven internationally renowned museum experts discussed with Augsburg’s audience about the future role of museums in view of the rapidly changing European societies. Moreover, during the EuroVision Lab. stage, the EMEE partner from Augsburg executed several workshops where multipliers learned more about the idea to re-interpret museum objects from a regional and European perspective. The workshops

CHAPTER 1 CHAPTER 2 CHAPTER 3 CHAPTER 5

‘To successfully implement the participatory approach, the role of the curator has to be adapted. The freedom of choice in the areas of contentrelated design and choice of exhibits must be transferred. The work of the curator expands from solely scientific activities to intense communication with the visitors of the museum.’

CHAPTER 4

CHAPTER 2: EMEE OUTCOMES

laid emphasis on using ‘best practice’ examples and made sure to elaborate on their own Exemplary COP-Units to encourage museum experts to apply the EMEE concept to their own museum collections.

Isolde Parussel M.A., Museum für Kunst und Kulturgeschichte Dortmund, EMEE network partner, on the experiences within the EuroVision Lab.

The German EuroVision Lab. is implemented by the University of Augsburg, Department of History Didactics, in close cooperation with Kunstsammlungen und Museen Augsburg, Bayerische Museumsakdademie, Museum für Kunst und Kulturgeschichte Dortmund, Stadtmuseum Kaufbeuren and Stadtmuseum Marktoberdorf.

175

ELEMENTS OF THE as social arenas’ and ‘social media for museums’ are EUROVISION LAB. IN GERMANY discussed. 23rd October 2015 KUNSTSAMMLUNGEN UND MUSEEN AUGSBURG Cultural Heritage Controversial – Challenges for Museums in the 21st Century The lectures series opens museums as social arenas by discussing current viral museology topics. Experts in the field of museum studies offer key lectures as a starting point for further discussions with the audience. The lecture series is accompanied by a student seminar offered by the Chair of History Didactics at Augsburg University. 29th October 2015 until 28th January 2016 Poster [Download] – Flyer [Download] BAYERISCHE MUSEUMSAKADEMIE Europe in Museums – a Change of Perspective Starting from the premise that museum objects carry multiple layers of meaning and can reveal unexpected trans-national and cross-cultural European dimensions the workshop invites museum professionals, history teachers and students to discover ways of re-interpretation. Furthermore the topics ‘museum

176

Poster [Download] MUSEUM FÜR KUNST UND KULTURGESCHICHTE DORTMUND Exhibition on Migration – Europen object of the month The exhibtion ‘Die Münsterstraße. Dortmunds buntes Pflaster’ (The Münsterstraße. Dortmund’s colourful pavement) takes a closer view on one of Dortmund’s biggest and most colourful streets. Especially the topic of migration, of arriving and leaving is addressed. Using topic areas and single house numbers an insight in the history and development of the street and its importance for the development of the city is given. Residents were asked to share their stories and handed in fascinating objects that shed a new light on the Münsterstraße. 15th August until 25th October 2015 Poster [Download] – Flyer [Download]

CHAPTER 1 CHAPTER 2 CHAPTER 3 CHAPTER 5

STADTMUSEUM KAUFBEUREN Peer Group-Curated Exhibition The topic of flight and expulsion is presented by a touring exhibition in the local city museum. The exhibition is expanded by stories of migration narrated by members of local communities, which present their own flight and expulsion experiences and share their views on Kaufbeuren and the city museum. 17th March until 3rd July 2016

CHAPTER 4

CHAPTER 2: EMEE OUTCOMES

In addition the Museum für Kunst- und Kulturgeschichte presented seven 'European objects of the month'. September – March 2016

Poster [Download] – Flyer [Download] STADTMUSEUM MARKTOBERDORF Pop-up Museum The article series ‘European object of the month’ introduces the idea of the Change of Perspective to a wider audience in cooperation with the regional newspaper. Subsequently, citizens are invited to bring their own Europe-related objects and tell the story behind in order to create a popup museum together with the local museum experts. 18th March until 24rd April 2015 Flyer EuroVision Lab. in Germany [Download]

177

RESULTS EuroVision Lab. in Germany: Two exhibitions REPORTS ‘Europe at the museum. A change of perspectives and role modification at the museum’. Sucessfull LAB-Workshop presented by the ‘Bayerische Museumsakademie’ on 23/10/2015 in cooperation with the Augsburg EMEE team. Download [PDF] Cultural heritage controversial. Challenges for museums in the 21st century. EuroVision Lab lectures series and seminar for master students in Augsburg/Germany gave a lot of impulses. Download [PDF] How to re-interpret museum objects in an European way? Keynote of Susanne Popp and Jutta Schumann from the University of Augsburg as part of the lecture series ‘Forum Musealisierung’, 3rd February 2016. Download [PDF]

178

influenced and supported by EMEE will be opened in Kaufbeuren and Marktoberdorf on 17th and 18th March 2016: ‘About having to leave … and arriving’ and ‘European traces in Markoberdorf’. Download [PDF] Report about the opening of the EuroVision Lab. exhibition ‘About having to leave…and arrive’ at the city museum Kaufbeuren/Germany on 17th March 2017. Download [PDF] Vernissage of the EuroVisionLab. Exhibition ‘European traces in Marktoberdorf’ on 18th March 2016 in Markoberdorf/Germany. Download [PDF]

CHAPTER 1 CHAPTER 2 CHAPTER 3 CHAPTER 5

CHAPTER 4

CHAPTER 2: EMEE OUTCOMES

PHOTOS

The opening of the exhibition "Die Münsterstraße. Dortmunds buntes Pflaster" (The Münsterstrasse. Dortmund’s colourful pavement) as part of the EMEE EuroVision Lab. in the Museum für Kunst und Kulturgeschichte. Photo: © University of Augsburg, Germany

"Cultural heritage controversial – Challenges for museums in the 21st century". EuroVision Lab lectures series as Part of the Augsburg EuroVision Lab. Photo: © University of Augsburg, Germany

‘About having to leave … and arriving’. Opening of the EuroVision Lab. exhibition at the Stadtmuseum Kaufbeuren/Germany on 17th March 2016. Photo: © University of Augsburg, Germany

Vernissage of the EuroVisionLab. Exhibition ‘European traces in Marktoberdorf’ on 18th March 2016 in Markoberdorf/Germany. Photo: © University of Augsburg, Germany

179

EUROVISION LAB. ITALY THE EUROVISION LAB. motto was All Roads lead to Rome, took place at the OF THE ROME TRE UNIVERSITY Appian Way Archaeological Park and was based on As a University partner, the Center for Museum Education of Roma Tre concentrated on organizing workshops to promote the ideas of the EMEE project during its EuroVision Lab. With the help of the Roma Tre University’s EMEE partners network, which consisted of renowned museums and institutions, and the help of the project’s link to CECA, which is one of the most productive committees of ICOM and presided over by Prof. Emma Nardi, the Italian partners succeeded in reaching out to and involving a broader network of international museum professionals, but also the general public. With regard to the Italian Lab. activities, one central element was a workshop series entitled Experiencing the Change of Perspective. These workshops were organized in cooperation with the Museo Nazionale Romano Terme di Diocleziano (National Roman Museum – Baths of Diocletian), and the Archivio Antonio Cederna. During the first workshop, participants received training on the implementation of a laboratory activity aimed at designing an Exemplary COPUnit. The second workshop of this series, whose

180

the Exemplary COP-Unit referring to the same topic. Another major task of the Italian EuroVision Lab. activities revolved around the discussion of the EMEE concept with museum professionals during a symposium at Roma Tre in June 2015. The wider context of the symposium was the ICOM General Conference in Milan 2016. Moreover, and with the goal of reaching out to a wider public, the Center for Museum Education organized an international conference that dealt exclusively with the EMEE project and was entitled Una prospettiva internazionale per i musei europei.

CHAPTER 1 CHAPTER 2 CHAPTER 3 CHAPTER 5

CHAPTER 4

CHAPTER 2: EMEE OUTCOMES

‘Mostly young and adult museum professionals, the participants showed a deep interest in and concern about the task of creating a more horizontal relationship with their audience, in order to overcome the general perception of the museum as a boring place, driven by a “top-down” and old fashioned idea of education. In their feedback they all expressed this general concern, and thanked the EMEE team for having provided tools and guidelines to overcome the barriers that keep museums and society apart.’ Report of EMEE partner University Roma Tre on the feedback regarding their EuroVision Lab. activities

181

ELEMENTS OF THE EUROVISION LAB. IN ITALY work the three EMEE Changes of Perspective. It was WORKSHOPS: One Object – Many Visions – EuroVisions Nuove prospettive nella comunicazione museale This workshop is designed for the museum operators interested in experiencing a new approach in museum education aimed at opening multidimensional perspectives on the history and culture of both the single European countries as well as on Europe as a whole through the presentation of the museum object. The activities proposed in the workshop experiment the EMEE transnational perspective, also encouraging participants to develop new strategies to engage museum audiences. 20 November 2015 Poster [Download] All roads lead to Rome: Una lettura europea del patrimonio culturale. This workshop is based on the exemplary module ‘All roads lead to Rome’, designed by the Italian team of the EMEE project to introduce and put to

182

held in the Archaeological park of the Appia Antica with the bachelor and graduate students of the Centro di Didattica Museale. May 2016 SYMPOSIUM: EuroVision. A symposium on the EMEE Change of Perspective Museum professionals and operators were welcomed to participate in a Symposium/Round table organised by the Centre for Museum Education, University of Roma Tre. It introduced the EMEE project and engaged different experiences of the museum to share their views in a round table. The discussion on the challenges of the museum of the future was enriched by the contribution of Prof. Han van der Meer from the Delft University of Technology. 17 June 2015

CHAPTER 1 CHAPTER 2 CHAPTER 3 CHAPTER 5

CHAPTER 4

CHAPTER 2: EMEE OUTCOMES

CONFERENCE: EuroVision – Museums Exhibiting Europe Una prospettiva internazionale per i musei europei The Centre for Museum Education, University of Roma Tre was invited to a public conference aimed at introducing the EMEE-project to a broader audience: an international perspective for European museums. 19 February 2016 SEMINAR: Experiencing the EMEE Change of Perspective In collaboration with the Museo Nazionale Romano Terme di Diocleziano and with the Galleria Nazionale d’Arte Moderna – both Workgroup partners of the EMEE project – the post graduate students of the Centre for Museum Education, University of Roma Tre (mostly young museum operators) will attend a series of lectures on the tools and guidelines of the EMEE-project and will be guided in the implementation of a laboratory activity based on them. Museo Nazionale Romano: 11-15 May 2015 – Poster [Download] Galleria Nazionale d’Arte Moderna: Spring 2016 Flyer EuroVision Lab. in Italy [Download]

183

RESULTS REPORTS Warm-up for the EuroVision Lab. in Italy: Experiencing the EMEE Change of Perspective, Museo Nazionale Romano – Terme di Diocleziano, 11th-15th May 2015, Rome/Italy. Download [PDF] EMEE EuroVision Lab. symposium with museum professionals – Presentation adapted to a wider audience, 17th June 2015, Rome/Italy. Download [PDF] One Object – Many Visions – EuroVisions. Nuove prospettive nella comunicazione museale. Lab. Workshop for museum operators, organised by Università Roma Tre in cooperation with Museo Nazionale Romano, will run on 20th November 2015. Download [PDF] EuroVision Lab. workshop in Italy: ‘One Object – Many Visions – EuroVisions. Nuove prospettive nella comunicazione museale’ run sucessfully at the Museo Nazionale Romano – Terme di Diocleziano, Rome/Italy. Download [PDF]

184

PHOTOS Warm-up for the EuroVision Lab in Italy: Experiencing the EMEE Change of Perspective, Museo Nazionale Romano – Terme di Diocleziano, 11th-15th May 2015, Rome. Photo: © University Roma Tre, Università Degli Studi

"One Object – Many Visions – EuroVisions. Nuove prospettive nella comunicazione museale". EuroVision Lab. workshop for museum operators, 20th November 2015. Photo: © University Roma Tre, Università Degli Studi

CHAPTER 1 CHAPTER 2 CHAPTER 3 CHAPTER 4 CHAPTER 5

Angelini, C. (2016), Bridging the Gap. Activation, Participation and Role Modification (EMEE Toolkit series, vol. 3), Vienna: edition mono/monochrom, available online: http://www.museums-exhibiting-europe.de/ download/8293/, Accessed 11 August 2016.

CHAPTER 2: EMEE OUTCOMES

EMEE PUBLICATIONS

Antas, M., Ramos, M. and Feio, M. (red.) (2016), EUROVISION – Museums Exhibiting Europe (EMEE). The E-Book, ed. by the EMEE consortium Brückner, U. R. and Greci, L. (2014), Workshop 4 – How to Use Scenography for the Synaesthetic Translation of Perspectives, published within the EMEE project: EuroVision – Museums Exhibiting Europe, available online: http://www.museums-exhibiting-europe.de/workshop-4-download/, Accessed 11 August 2016. Brückner, U. R. and Greci, L. (2016), Synaesthetic Translation of Perspectives. Scenography – a Sketchbook (EMEE Toolkit series, vol. 4), Vienna: edition mono/monochrom, available online: http://www.museums-exhibiting-europe.de/download/8296/, Accessed 11 August 2016. Brückner, U. R. and Greci, L. (2016), Workshop 7: Scenography – the Potential to Provoke a Change of Perspective, published within the EMEE project: EuroVision – Museums Exhibiting Europe, available online: http://www.museums-exhibiting-europe.de/download/8326/, Accessed 11 August 2016.

185

Corradi, F. (2014), Bridging-the-Gap. Workshop 3 – Activation, Participation and Role Modification, published within the EMEE project: EuroVision – Museums Exhibiting Europe, available online: http://www. museums-exhibiting-europe.de/download/8310/, Accessed 11 August 2016. Fuhrmann, A.-L., Schumann, J., Popp, S., Schilling, S. and Mayer-Simmet, O. (2016), Making Europe Visible. Re-interpretation of Museum Objects and Topics. A Manual (EMEE Toolkit series, vol. 1), Vienna: edition mono/monochrom, available online: http://www. museums-exhibiting-europe.de/download/8248/, Accessed 11 August 2016. Fuhrmann, A.-L., Schumann, J., Popp, S., Schilling, S. and Mayer-Simmet, O. (2016), Making Europe Visible. Re-Interpretation von Museumsobjekten und -themen. Ein Handbuch, available online: http://www. museums-exhibiting-europe.de/download/8279/, Accessed 11 August 2016. Greci, L. and Brückner, U. R. (eds) (2015), EMEE Young Scenographers Contest. Catalogue of the Travelling Exhibition, Vienna: edition mono/monochrom, avail-

186

able online: http://www.museums-exhibiting-europe. de/wp-content/uploads/2015/06/EMEE_YSC_catalogue.pdf, Accessed 11 August 2016. Kronberger, A., Kelley, H. and Friesinger, G. (2014), Workshop 5 – Social Web and Interaction, published within the EMEE project: EuroVision – Museums Exhibiting Europe, available online: http://www.museums-exhibiting-europe.de/workshop-5-social-weband-interaction/, Accessed 11 August 2016. Kronberger, A., Kelley, H., Fabry, D., Friesinger, G. and Halm, K. (2016), Social Web and Interaction. Social Media Technologies for European National and Regional Museums (EMEE Toolkit series, vol. 5), Vienna: edition mono/monochrom, available online: http://www. museums-exhibiting-europe.de/download/8298/, Accessed 11 August 2016. Le François, C., Baldner, J.-M. and Mayrargue, A. (2016), Workshop 6 – Change of Perspective by involvement of New Audiences and Artists, published within the EMEE project: EuroVision – Museums Exhibiting Europe, available online: http://www.museums-exhibiting-europe.de/download/8324/, Accessed 11 August 2016.

CHAPTER 1 CHAPTER 2 CHAPTER 3 CHAPTER 5

CHAPTER 4

CHAPTER 2: EMEE OUTCOMES

Popp, S., Friesinger, G. and Schilling, S. (eds) (2016), EMEE Toolkit series, Vol. 1, 2, 3, 5, 6, Vienna: edition mono/monochrom, available online: http://www.museums-exhibiting-europe.de/downloads/, Accessed 11 August 2016. Purg, U. and Štefanič, J. (ed) (2015), Eurovision Lab. En predmet – Mnogo vizij – EvroVizij / One Object – Many Visions – EuroVisions. Katalog prve EMEE eksperimentalne razstave/Catalogue of the first EMEE Experimental Exhibition, Ljubljana: edition mono/monochrom, available online: http://www.museums-exhibiting-europe.de/wp-content/uploads/2015/10/EuroVision-Lab.-Catalog.pdf, Accessed 11 August 2016. Schilling, S., Fuhrmann, A.-L., Schumann, J., Popp, S. and Mayer-Simmet, O. (2014), Workshop 1 – One object – Many visions – EuroVision. Making Europe Visible, published within the EMEE project: EuroVision – Museums Exhibiting Europe, available online: http://www.museumsexhibiting-europe.de/download/8306/, Accessed 11 August 2016. Schilling, S., Angelini, C., Friesinger, G. and Popp, S. (eds) (2016), European Perspectives on Museum Objects. Selected Examples on the Change of Perspective, Vienna: edition mono/monochrom, available online: http://www.museums-exhibiting-europe.de/download/8300/, Accessed 11 August 2016.

187

Schumann, J., Popp, S., Mayer-Simmet, O., Schilling, S. and Wolf, D. (2016), The EU Project ‘Museums Exhibiting Europe’ (EMEE): Ideas, Results, Outlooks, Vienna: edition mono/monochrom, available online: http://www.museums-exhibiting-europe.de/downloads/, Accessed 11 August 2016. Širok, K., Purg, U. and Kogoj, K. (2014), Workshop 2 – Museums as Social Arena. Development of the Social Arena Concept for Museums, published within the EMEE project: EuroVision – Museums Exhibiting Europe, available online: http://www.museums-exhibiting-europe.de/download/8355/, Accessed 11 August 2016. Širok, K. (2016) (ed), Integrating a Multicultural Europe. Museums as Social Arenas (EMEE Toolkit series, vol. 2), Vienna: edition mono/monochrom, available online: http://www.museums-exhibiting-europe. de/download/8289/, Accessed 11 August 2016. Širok, K., Purg, U., Kogoj, K., Capovin, R., Štefanič, J. and Valič, U. (2016), Integracija Medkulturne Evrope. Muzeji Kot Družbene Arene [Slovenian translation of Toolkit 2], http://www.museums-exhibiting-europe. de/download/8291/, Accessed 11 August 2016.

188

FURTHER PUBLICATIONS IN THE CONTEXT OF THE EMEE PROJECT Angelini C. (2014) ‘EMEE EuroVision. Museums Exhibiting Europe’, CADMO, Giornale italiano di pedagogia sperimentale, 2 (2014), 115-117. Carvalho, A., Inácio, I. and Nunes, M.J. (2016) ‘O caso Campaniforme – Um objecto, muitas questões/ The Bell Beaker Affair – One Object, Many Questions’, in N.N. (ed) Sinos e taças. Junto ao Oceano e mais longe. Aspectos da presença campaniforme na Península Ibérica/Bells and Bowls, Near the Ocean and Far Away. About Beakers in the Iberian Peninsula. Livro de Resumos/Book of Abstracts, 28-29, Centro de Arqueologia da Universidade de Lisboa (UNIARQ). Workgroup on Ancient Peasant Societies (WAPS). Faculdade de Letras, Universidade de Lisboa, available online: http://www.uniarq.net/uploads/4/7/1/5/4715235/ livro_20resumos_20-_20campaniforme_20-_20tudo. pdf, Accessed 11 August 2016. Friesinger, G., Halm, K. and Kronberger, A. (2016), Change of Perspective. How to Attract Non-visitors with Artists Concepts, Vienna: edition mono/monochrom.

CHAPTER 1 CHAPTER 2 CHAPTER 3 CHAPTER 5

CHAPTER 4

CHAPTER 2: EMEE OUTCOMES

Hannig, M. (2016) ‘Social Media und Museum. Möglichkeiten der Kommunikation, Interaktion und Partizipation zwischen Museen und NutzerInnen‘, in R. Wenrich and J. Kirmeier (eds) Kommunikation, Partizipation und Interaktion. Kunst- und Kulturvermittlung im Museum am Beginn des 21. Jahrhunderts, München. (in print) Hannig, M. and Schilling, S. (2016) ‘EuroVision – Museums Exhibiting Europe (EMEE): Ein europäisches Museumsprojekt’, Museum heute, 49 (2106), 43-46, available online: http://www.museen-in-bayern.de/uploads/media/mh49_web_neu02.pdf, Accessed 11 August 2016. Kuhn, B., Popp, S., Schumann, J. and Windus, A. (eds) (2014), Geschichte erfahren im Museum, St. Ingbert: Röhrig Universitätsverlag. Kyoseva, T. (2014) ‘The European Project “EMEE – Eurovision. Museums Exhibiting Europe” and attracting “non-visitors”’, Museums: Debates in the Museology. The Museum and the Society of the Spectacle, 48-56, Sofia: IEFEM-BAN. Kyoseva, T. (2015) ‘The Problem of the Visitors and Non-Visitors in the Light of the Museum Marketing’, in B. Dimitrov (ed) Proceedings of the National Museum of History. Vol. XXVII, 259-284, Sofia: National Museum of History – Sofia.

189

Mayrargue A. (2009) ‘Emergence du concept d’énergie’, in D. Ghesquier-Pourcin, M. Guedj, G. Gohau and M. Paty (eds) Energie, Science et Philosophie au tournant des 19e et 20e siècles, Paris: Hermann. Mayrargue A. and Guedj, M. (2014) ‘Eclairages historiques sur l’émergence du concept d’énergie’, Recherches en didactique des sciences et des technologies, 10, 35-61. Nardi, E. and Angelini, C. (2013) ‘EuroVision. Museums Exhibiting Europe’, CADMO, Giornale italiano di pedagogia sperimentale, 2, 114-117. Nardi, E., Angelini, C. and Wintzerith, S. (ed) (2014), Change of Perspective. (New) Ideas for Presenting Museum Objects, ICOM Education 25, Roma: Edizioni Nuova Cultura, available online: https://drive.google.com/file/d/0B8yHu7SudP4kOF9uRzBqV0hNcGc/ view?pref=2&pli=1, Accessed 11 August 2016. Nardi, E. (ed) (2016), La cultura europea, la cultura degli europei. Il cambio di prospettiva del progetto EMEE – EuroVision – Museums Exhibiting Europe, Rome: Edizioni Nuova Cultura.

190

Popp, S. and Schumann, J. (2011) ‘Reflections and Suggestions for the “Europeanization” of National and Regional History Museums’, jahrbuch – yearbook – annales (32), 203-216, available online: http://yearbook-ishd.wochenschau-verlag.de/files/issue_2011. pdf#page=7, Accessed 11 August 2016. Popp, S. and Schumann, J. (2014) ‘Change of Perspective. A Local Museum Object in Trans-regional and Cross-cultural Perspectives’, in E. Nardi, C. Angelini and S. Wintzerith (eds) Change of Perspective. (New) ideas for presenting museum objects, ICOM Education vol. 25, 23-46, Roma: Edizioni Nuova Cultura, available online: https://drive.google. com/file/d/0B8yHu7SudP4kOF9uRzBqV0hNcGc/ view?pref=2&pli=1, Accessed 11 August 2016. Popp, S. and Schumann, J. (2014) ‘The Change of Perspective. The Concept of the EMEE Project’, in E. Nardi, C. Angelini and S. Wintzerith (eds) Change of Perspective. (New) Ideas for Presenting Museum Objects, ICOM Education vol. 25, 13-22, Roma: Edizioni Nuova Cultura, available online: https://drive.google. com/file/d/0B8yHu7SudP4kOF9uRzBqV0hNcGc/ view?pref=2&pli=1, Accessed 11 August 2016.

CHAPTER 1 CHAPTER 2 CHAPTER 3 CHAPTER 5

CHAPTER 4

CHAPTER 2: EMEE OUTCOMES

Popp, S. and Schumann, J. (2014) ‘Developing Trans-regional Perspectives in Museums’, jahrbuch – yearbook – annales (35), 209-222, available online: http://yearbook-ishd.wochenschau-verlag.de/files/issue_2014. pdf#page=209, Accessed 11 August 2016. Schilling, S. (2016) ‘Change of Museums by Change of Perspective’, in K. J. Borowiecki, N. Forbes and A. Fresa (eds) Cultural Heritage in a Changing World, 145-162, London: Springer, available online: http://link.springer.com/book/10.1007%2F978-3-319-29544-2, Accessed 11 August 2016. Schilling, S. (2016) ‘Transnationale und europäische Perspektiven beim historischen Lernen an Museumsobjekten’, in N.N. (ed) Lernen im Museum. Aktuelle Diskurse und Modelle in der Geschichtsdidaktik (Europäische Studien). (in print) Schumann, J. and Popp, S. (2014) ‘Die Entwicklung transregionaler Perspektiven im Museum’, in B. Kuhn, S. Popp, J. Schumann and A. Windus (eds) Geschichte erfahren im Museum, 109-119, St. Ingbert: Röhrig Universitätsverlag. Širok, K. and Purg, U. (2014) ‘(Re)interpretacije dediščine muzejskih zbirk: oblikovanje podob preteklosti v evropskem kontekstu’, in T. Dolžan, I. Eržen, S. Gradišnik and N. Valentinčič Furlan (eds) Interpretacije dediščine, 128-137, 279-280, Ljubljana: Slovensko etnološko društvo.

191

Yanakieva, S. (2014) ‘Museum Adventure Program. The National Historical Museum, Bulgaria (for Visitors with Special Educational Needs)’, Az Buki, 7, 11001113.

Yaneva, M. (2014) ‘PR … The Other Face of the Museum’, in V. Debochichki and M. Taskova (eds) Good Practices: Promotion, Communication and Marketing, 7-16, Kyustendil: Dedrax.

Yanakieva, S. (2015) ‘Interactive Lectures for Children with Special Educational Needs’, in N.N. (ed) Engaging tools for science education, 57-61, Sofia: N.N., available online: https://drive.google.com/a/ cct.bg/file/d/0B9QVfTt1iIO0OVVmWlBRZ0tDRXM/ view?pref=2&pli=1, Accessed 11 August 2016.

Yaneva, M. (2015) ‘EuroVision. Museums Exhibiting Europe’, Funds, Programmes, Projects, 4, 26-28.

Yanakieva, S. (2016) ‘The National History Museum Programs’, in H. Haritonov (ed) National Conference of Regional to National Enlightenment and Museums, 180-192, Veliko Tarnovo: Abagar. Yaneva, M. (2014) ‘Museums and the Free Market. (Effective Marketing and PR Practices Implemented in NHM)’, in V. Boneva (ed) Cultural Heritage and Cultural Tourism: Museum Perspectives, 653-663, Shumen: Faber Publishers.

192

Yaneva, M. (2016) ‘EuroVision Laboratory’, in H. Haritonov (ed) From the Regional to National Education and Museums, 170-179, Veliko Tarnovo: Abagar Publishers. Yaneva, M. and Stefanov, P. (2014) ‘EuroVision. Museums Exhibiting Europe. Innovative Concept of Attracting Different Audiences’, in V. Debochichki and M. Taskova (eds) Good Practices: Promotion, Communication and Marketing, 23-26, Kyustendil: Dedrax. Yaneva, M. and Stefanov, P. (2016) ‘Active Perception of Cultural Heritage. Frontier Research Practices Implemented in the National History Museum and Its Branches’, in S. Kazalarska (ed) See Who Is Speaking, Sofia: The Bulgarian Academy of Science.

he statements put out in this chapter T are taken from the final report of Andrea Ciasca Marra and Paolo Campetella from Roma Tre University. Cf. the complete report under www.museums-exhibitingeurope.de/wp-content/uploads/2016/08/ EMEE_P5_A26_Final-Report.pdf, Accessed 11 August 2016.

193

CHAPTER 1 CHAPTER 2 CHAPTER 3 CHAPTER 4

CHAPTER 5

Taken as a whole, the evaluation of the EMEE concept focused on two main target groups, namely museums professionals and experienced opinion leaders working in museums or in the field of museum education. The evaluation aimed not only to explore the thoughts of these target groups on the EMEE concept of the Change of Perspective, but also to obtain feedback on whether, in their opinion, the workshops and Toolkits developed during the EMEE project have the potential to help remedy the identified shortcomings in the museum field.1 The evaluation process was carried out between June 2015 and May 2016 and consisted of a semi-structured interview with 51 participants, containing closed-ended and open-ended questions that ranged from personal details to in-depth statements on the activities implemented in the EuroVision Lab.s and workshops and, in more general terms, on the impact of the EMEE Change of Perspective on the respondents’ professional lives. Later on, the results of the evaluation process were presented to and discussed in a focus group during the 24th ICOM General Conference, which took place in Milan in July 2016 and aimed to gather suggestions and recommendations that experts had to offer in light of the evaluation. In summary, the evaluation report states: ‘Both the results of the evaluation process and of the focus group are very positive. All participants expressed a deep interest in the main issues raised by the EMEE project.’ The survey and the conversation with the focus group showed

CHAPTER 2: EMEE OUTCOMES

THE EVALUATION OF THE EMEE CONCEPT BY MUSEUM EXPERTS

that central problems that the EMEE project aimed to identify and solve using the concept of COP are also considered to be crucial to future museum development by professionals working in the museum field. This applies to the main topic areas of the inquiry – like ‘Local contexts combined with national and transnational perspectives in museum communication’, ‘Redefinition of the role of museums in contemporary society’, ‘Identification and involvement of nonvisitors’, ‘Evolution of the museum as a space of public debate’ and ‘Use of social networks in museum communication strategies’.

194

Within the scope of this chapter, it is not possible to elaborate on all results of the report. However, looking at selected conclusions, the following chart shows that the EMEE concept of re-interpreting objects from a regional and cross-cultural European perspective is perceived as a crucial element: The chart shows that 17 respondents considered the item ‘Turn museums into open spaces of debate on European integration and identity’ to be the most important task, followed by the items ‘Build operative cooperation networks between European museums’ and ‘Re-interpret local collections with a

CHAPTER 1 CHAPTER 2 CHAPTER 3 CHAPTER 5

CHAPTER 4

CHAPTER 2: EMEE OUTCOMES

trans-regional approach’, both of which were deemed most important by 13 respondents each. Interestingly, adding up the first and the second choice results in the option ‘Re-interpret local collections with a transregional approach’ showing the highest number of preferences. Of particular importance for the evaluation of the project was the question of whether the museum experts considered the COP concept, which was promoted using the Toolkits and the corresponding workshops, to be actually viable and innovative in a practical context. To answer this question, the last item of the survey asked the respondents about the professional benefits they had gained from the EMEE tools and methods. This last and open-ended question aimed to record the impact of the EMEE Change of Perspective on the respondents’ work.

195

As shown in the chart, 20 respondents perceived the ‘European re-interpretation’ of the existing museum collection to be the most important element of innovation of the EMEE project. Moreover, the issue of using social web strategies was considered to be of similar importance and was mentioned ten times. Other responses included the aspect of ‘bridging-the-gap’ to new groups of visitors (mentioned seven times), and ‘scenography’ (mentioned three times). The museum as ‘Social Arena’ was considered to be important only by one respondent. Furthermore, the answers of all respondents confirmed that, indeed, the EuroVision Lab.s offered them viable tools for their daily work. In their answers to this open-ended question, 18 respondents emphasized that the workshops and tools had indeed provided them with useful new methods and effective strategies for conveying contents in fresh perspectives. The highly positive feedback from the semistructured interviews was confirmed by the discussion of the focus group during the International Council of Museums (ICOM) conference in Milan in 2016. Six experts, who had been chosen from the members of ICOM CECA and included members not only from Europe, but also from Argentina, Canada and

196

Japan, discussed the EMEE concept and the results of the evaluation. They confirmed the importance of the project’s priorities for the future development of museums and identified 26 items as the main conclusions of the discussion. Again, it is impossible to include all of them within the scope of this chapter, but what can be highlighted is that, among other things, the focus group named the flexible multi-layered interpretation of objects that relates to the personal experiences and backgrounds of the visitors to be one of the most relevant concepts of the project. With regard to increasing the participation of non-visitors in museums, the discussants emphasized the ‘lack of openness’ in museums that diminishes the prospects of these institutions to reach out to so-called ‘non-visitors’. Against this backdrop, they urged that ‘in order to ensure the inclusion of multiple points of view and interpretations in museum communications it is necessary for all visitors, actual or potential, to feel they can offer their contribution to shared knowledge through the exchange of experiences’. Thus, museums are asked to become a ‘welcoming place’; they should make efforts to shape a new generation of visitors and improve their ability to think critically.

CHAPTER 1 CHAPTER 2 CHAPTER 3 CHAPTER 5

CHAPTER 4

CHAPTER 2: EMEE OUTCOMES

To come to a conclusion, both the discussion of the focus group and the survey showed that the EMEE project addressed questions that are extremely important for the further development of museums in the direction of European perspectives. Moreover, it became evident that the concept of the COP offers a solid foundation for tackling these problems. In particular, the re-interpretation of objects from a transregional and European perspective was considered to be helpful in terms of allowing multicultural societies across Europe to become involved in the discussion of our European cultural heritage and European identity. For more detail information, please download "The EU Project ‘Museums Exhibiting Europe’ (EMEE) – Ideas, Results, Outlooks", pp. 115-118.

197

198

199

CHAPTER 2 CHAPTER 3 CHAPTER 4 CHAPTER 5

The EMEE project has developed a variety of tools and resources that enable museum professionals to developed innovative activities in order to provide an active participation of visitors in the museum. These activities deal with the concept of 'Change of Perspective', applied to the ideas of bridging-the-gap and of contacting so-called 'non-visitor'-groups. The National Museum of Contemporary History, Ljubljana, Slovenia developed and implemented an activity called ‘Museum Speed Dating Game — a new way to bridge the gap between museums and (non-) visitors’. The National History Museum, Sofia, Bulgaria presented the activities called ‘First Time in the Museum: implementation of a new training module to involve visitors with additional needs in NHM, Bulgaria’. The National Museum of Archaeology, Lisbon, Portugal presented the exhibition ‘Europe through our objects: one object, many visions’ to engage the visitors with a new approach.

C H A P T E R 3 : U S E F U L T I P S - B E S T P R AT I C E I N M U S E U M S

PRACTICAL EXAMPLES: THE DEVELOPMENT OF ACTIVITIES CONCERNING THE CHANGE OF PERSPECTIVE AND THE NON-VISITORS ENGAGEMENT

CHAPTER 1

CHAPTER 3: USEFUL TIPS – BEST PRATICE IN MUSEUMS

BULGARIA – NATIONAL MUSEUM OF HISTORY, SOFIA 1. Activity First Time in the Museum: implementation of a new training module to involve visitors with additional needs in NHM, Bulgaria.

2. Type of museum or institution where the activity took place National History Museum, Sofia, Bulgaria

The implementation of the (non)visitors concept in the framework of Activity 21 is between June 2015 and July 2016 (12 months)

4. Target audiences Main/direct target audiences: —S chool students and young adults with special educational needs from Sofia. —S chool groups with integrated students with special educational needs from Sofia. —V isitors with additional needs from Sofia and elsewhere in Bulgaria coming to the museum for the first time.

3. Activity length Additional/indirect target audiences: Total duration: 24 months: June 2013-June 2016 Educational activity adaptation in the EMEE framework covers a wide variety of sub-activities implemented within Activity 7 and Activity 21: The development of the initial (non)visitors programme was performed within the framework of Activity 7 for a period of 12 months (June 2013-May 2014).

200

—N HM guides and workshop instructor teams working with the main target group —M useum professionals from NHM’s satellite EMEE partners — Teachers working with a target group in comprehensive and specialized schools —P rofessionals from institutions working with the group of (non)visitors with additional needs

CHAPTER 1

In the process of developing the (non)visitors with additional needs concept, NHM organized and held a series of meetings and events to activate and involve target group representatives and present the project goals. Indirect target audience representatives participated in designing the First Time in the Museum educational module. An important part of the process was the collaboration and partnership with target group representatives in the planning, organizing and implementation of specific measures and activities for the selected audience group of non-visitors.

201

CHAPTER 3

CHAPTER 2

The (non)visitor concept development and implementation process involved collaboration with: — Teachers working with a target group in comprehensive and specialized schools —P rofessionals from institutions working with the group of (non)visitors with additional needs — The team of NMH guides and workshop instructors working with a target group and museum specialists from NHM’s EMEE partners —N GO activists working with the group of (non)visitors with additional needs

CHAPTER 4

5. Kinds of collaboration

CHAPTER 5

C H A P T E R 3 : U S E F U L T I P S - B E S T P R AT I C E I N M U S E U M S

—N GO activists working with the group of (non)visitors with additional needs

6. Abstract Main activity goals: The adaptation of museum education activities meant to engage visitors with additional/special needs is a purposive sequence of activities implemented in the process of developing and implementing the (non) visitors concept in NHM, Bulgaria, in the framework of the EMEE-project. NHM in Bulgaria has experience with individual visitors with special needs, and the facility features partial architectural accessibility. NHM’s educational programmes were not evaluated as inclusive; they did not include specific measures for that particular audience group. The main priority of the process of developing and implementing the initial (non)visitors concept programme was the participation of children and school students with special educational needs and their representatives from NGOs and institutions in the existing NHM Children’s Centre educational programmes and workshops. After the successful test run, the concept to attract (non)visitors with additional needs was implemented within the EuroVision Lab. implementation in NHM, Bulgaria.

202

— t o implement an initial programme for the group of (non)visitors with additional needs focused on children and school students with special educational needs — educational programmes, modules and NHM Children’s Centre (non)visitors. — To test the role of museums as a social arena and a place for multicultural participation and integration. — To implement the concept of attracting (non)visitors with special needs for the EuroVision Lab. implementation. The expected activity results were related to: participation and activation of (non)visitor target group representatives and other partners and interested parties; improved competence and skills of museum professionals and NHM workshop instructors directly working with visitors with additional needs; implementation of universal design and inclusive education techniques in developing educational programmes for students and young adults with special educational needs. This approach has helped target group representatives to change their view on the museum as an institution, while the museum team found an open way to more inclusive future work. The museum insti-

CHAPTER 1

203

CHAPTER 3

CHAPTER 2

Activity objectives: — To establish or improve the relations with institutions and organizations representing or working with the group of (non)visitors with additional needs, education and social sector professionals. — To establish or improve the relations with cultural heritage professionals: collaboration with all project partners and potential partners — museums, institutions and organizations. — To improve the skills and competences of NHM guides and workshop instructors working on adapting NHM’s educational programme to visitors with additional needs (with a special focus on children and students with special educational needs). —T o implement an initial programme for the group of (non)visitors with additional needs focused on children and school students with special educational needs — educational programmes, modules and NHM Children’s Centre (non)visitors. —T o test the role of museums as a social arena and a place for multicultural participation and integration. —T o implement the concept of attracting (non)visitors with special needs for the EuroVision Lab. implementation.

CHAPTER 4

7. Objectives

CHAPTER 5

C H A P T E R 3 : U S E F U L T I P S - B E S T P R AT I C E I N M U S E U M S

tution has unfolded its potential as a space for social contacts and events and enjoys better approaches to audiences of various types.

8. Activities The adaptation of educational programme activities of NHM, Bulgaria, meant to involve visitors with additional/special needs is a purposive sequence of activities implemented in the process of developing and implementing the (non)visitors concept in the framework of the EMEE. EuroVision. Museums Exhibiting Europe project. The concept covered specific activities of the following types: — Activities to establish and improve the relations with institutions and organizations representing or working with the group of (non)visitors with additional needs, education and social sector professionals. Separate meetings and a general working meeting for synchronized collaboration in the process of launching the initial programme for visitors with additional needs as part of the educational programmes in NHM. — Activities leading to contacts or better relations with professionals in the cultural heritage sector: collaboration with all project partners and potential partners such as museums, institutions and organizations. A sequence of separate meetings with po-

204

tential partners, and a two days working meeting — a seminar to present the concept of the initial programme for visitors with additional needs. — Activities to improve the skills and competences of NHM guides and workshop instructors working on adapting NHM’s educational programme to visitors with additional needs (with a special focus on children and students with special educational needs). Preparation and holding a working meeting and a two-days practical seminar with the team of NHM guides and workshop instructors. — Activities for implementing an initial programme for the group of (non)visitors with additional needs focused on children and school students with special educational needs — educational programmes, modules and NHM Children’s Centre (non)visitors. The programme includes two organized visits to NHM’s First Time in the Museum new adapted interactive module. — Activities related to implementing the concept of attracting (non)visitors with additional needs to the EuroVision Lab. activities and a test run of the role of museums as a social arena and a place for multicultural participation and integration in the third project phase.

CHAPTER 1 CHAPTER 4

CHAPTER 3

CHAPTER 2

205

CHAPTER 5

C H A P T E R 3 : U S E F U L T I P S - B E S T P R AT I C E I N M U S E U M S

A two-days practical training of the museum team working on activities for non-visitors with special educational needs was organized in the end of March 2014 in the framework of the implementation of the initial theoretical programme for non-visitors. The concept of the First Time in the Museum module was developed and a special booking form was designed to include information about the needs of the group, instructions for the group organizers (teachers or other professionals). An adapted presentation of First Time in NHM in pictures was also designed in order to give accessible information to the target group with specific learning disabilities. Professionals representing the new target group of NHM non-visitors participated in the preparation of the specific proposed measure for that target group; the implementation was performed by Stoyanka Yanakieva â&#x20AC;&#x201D; a NHM museum specialist (guide). A two-days working meeting was held in NHM in early April 2014. Good practices in educational programmes and museum initiatives for people with additional needs and children with special educational needs were shared at that meeting. The objective was to inform the network partners about the latest project progress and to facilitate the process of sharing and summarizing successful practices helping to attract visitors with additional needs and children and students with special educational needs to educational museum programmes. The new interactive module First Time in the Museum in its adapted version for children with special educational needs had a test run with two groups on 8 May 2014. The museum professional and guide Stoyanka Yanakieva implemented the module on the basis of the initial

programme including an adapted group presentation in the museum and workshop activities in the NHM Children’s Centre. A practice new to NHM was introduced through that module: copies of the exhibition objects were available to the kids for tactile contact to enable them to have a better understanding of the period and the object per se. Part of the interactive education module was the work of the children in the pottery of the Children’s Centre. Their hands-on experience was the clay museum pass stamps they made. The kids kept the pass stamps they made as a keepsake of their visit and a pass to the future museum education programmes. In the end of the module, the instructors and the adults escorting the children filled in a feedback form. The first group was 12 young adults with special needs from the Day Care Centre for Young Adults with Disabilities. The group was escorted by 4 assistants (parents and staff) from the We Are Also Here Association of parents of children with disabilities. The second group was an integrated group of 10 elementary school students (5 children with special educational needs and 5 of their classmates). The group was escorted by 3 school representatives — the class master, a psychologist and a parent.

206

The inclusive practices for visitors with additional needs in the NHM educational programmes and the new programme of the NHM Children’s Centre were continued and upgraded in activities related to the EuroVision Lab.s implementation. Tolerance in the Past and Today, a discussion seminar for young adults was held in early September 2015. In the course of the discussions, the young adults and the museum professionals shared views on tolerance in the past and today; furthermore, they offered ideas on the preparation and dissemination of the Fragility of Tolerance exhibition as part of the EuroVision Lab.s activities, the main objective of which is to test the role of museums as a social arena and a space for multicultural participation and integration.

CHAPTER 1

207

CHAPTER 4

CHAPTER 3

CHAPTER 2

CHAPTER 5

C H A P T E R 3 : U S E F U L T I P S - B E S T P R AT I C E I N M U S E U M S

On 9 October 2015, there was a special adapted museum presentation for 48 visitors with visual impairments from the Burgas Social Rehabilitation and Integration Centre for People with Visual Impairments, who were on their first visit to the Museum. After the visit, in accordance with the visit preparation arrangements, the visitors participated in a discussion on the accessibility to visitors with visual impairments. They planned initiatives for the start of the museum exhibition and the EuroVision Lab. While the Fragility of Tolerance exhibition was available — between 9 November 2015 and 20 February 2016, there were eight group visits of a total of more than 120 school students and young adults with additional needs, who participated in the adapted summarized museum presentation including, inter alia, the Fragility of Tolerance exhibition and Follow the Road. The experimental initiative Follow the Road with the subtitle of The Way I Saw Europe in the Museum Objects enabled visitors to ‘discover’ the European dimensions of museum objects in an amusing and entertaining way. Twenty local objects featuring national and European dimensions were selected from the permanent exhibition. They had the logo of the EMEE-project. The participants ‘discovered’ the marked objects and received additional information on their European dimensions as recorded in the research passports of the objects. They all demonstrate the links Bulgaria has with Europe in accordance with the indicators in Toolkit 1. The participants put the names of the objects they discovered in a special sheet and filled in special cards. There were special instructions on working with visitors with additional needs for the team of NHM ushers assigned to that exhibition. The

exhibition was accessible to visitors with physical disabilities. Information in Braille letters was prepared for individual and group visitors with visual impairments. The exhibition newsletter provided additional printed information for visitors with hearing impairments. The exhibition was visited by two groups of school students and young adults with hearing impairments, with a special sign language translation provided for those visits. Immediately after the inauguration of the Fragility of Tolerance exhibition, a visit to the exhibition followed by a discussion were organized in partnership with the Regional Inspectorate of Education in Sofia on 19 November in NHM, with 50 teachers of history from schools in Sofia. They were informed about the exhibition and the way to integrate it in the syllabus of their schools, as well as about the ways to include their students with special educational needs when visiting the exhibition. The EMEE project and the outcomes of the concept to attract (non)visitors with special needs were presented by the EMEE team at a sequence of events initiated by NHM, the Ministry of Culture and other organizations.

208

9. Results The EMEE-Change of Perspective and the implemented activities have resulted in new relations with the Alliance of Deaf People in Bulgaria, the Centre for Independent Life, Vitosha Sports Club for Integration and the Rehabilitation Centre for People with Visual Impairments in Burgas. The relations with our existing partners were improved: Prof. Dr. Decho Dechev Special Secondary School for Children with Hearing Impairments, Louis Braillle Secondary School for Children with Visual Impairments, the local juvenile delinquency commissions in Mladost and H.Dimitar quarters The links between EMEE network partner organizations have become stronger. Building on the NHM experience, on 16 April 2016 a group of people with hearing impairments are visiting the National Polytechnic Museum, an associated EMEE partner The competences and skills of museums experts and leading NHM workshop instructors have improved After the test run of the First Time in the Museum programme, the experimental version was improved and approved for groups of (non)visitors with

CHAPTER 1

The summarized evaluation of the two visits to the First Time in the Museum adapted module covers a total of 22 students and young adults with special educational needs and 7 assistants - teachers, parents and special educators. The nature of the feedback given by students with special needs was informal. They were asked about their level of satisfaction from their first visit to the museum and their desire to revisit the museum. All of them had a high satisfaction level and were excited by the idea of revisiting NHM. The assistants escorting the school group filled in a evaluation form for the new adapted module. They all commented the visit as the first accessible and inclusive museum visit and museum education programme. All respondents have defined the visit as satisfactory and meeting their expectations. They would recommend

209

CHAPTER 4

CHAPTER 3

CHAPTER 2

10. Evaluation of the activity

CHAPTER 5

C H A P T E R 3 : U S E F U L T I P S - B E S T P R AT I C E I N M U S E U M S

additional needs and fist-time visitors to the museum, such as the delinquent young adults from the local juvenile delinquency commissions in the Mladost and H. Dimitar quarters. The museum institution has unfolded its potential as a space for social contacts and events and enjoys better approaches to audiences of various types. The experimental game Follow the Road caught the interest not only of visitors with additional needs, but of all participants: school and university students, young adults, families with children, and elderly citizens.

the new inclusive module First Time in the Museum to their friends and colleagues. Focus groups were identified in order to evaluate the events, and the participants were asked to fill in questionnaires or answer short interview/discussion questions in order to fasten the feedback information. The visitors with visual impairments gave answers to five questions: —M useum visit motivation — Accessibility —O bstacles in the museum to visitors with visual impairments —R ecommendations and guidelines for museum guides that work with (non)visitor groups with visual impairments The additional fifth question was related to the mobile version of the Fragility of Tolerance exhibition; it was focused on the preferred additional services for visitors with visual impairments. The options were the following ones: A) explanation texts in Braille letters B) audio version of the information texts and verbal description of the visual elements (photographs and illustrations)

210

C) a guide capable of presenting the exhibition and its visual elements with a more detailed description adequate to visitors with visual impairments The questionnaire was answered by 44 visitors from the Burgas Centre for Social Rehabilitation and Integration of People with Visual Impairments. The group has extensive experience in visiting cultural sights and museums around the country as part of their social integration program; therefore, they are strongly motivated. They all gave positive comments on the NHM practice of having objects for tactile information for visitors with visual impairments (regardless of whether copies or models) as part of the guided presentation. Apart from NHM, the Regional Museum of History in Kyustendil — a partner of the EMEEnetwork of the NHM, also offers such experience. The group prefers to be referred to as people with visual impairments, or visually impaired people. Recommendation: the website descriptions of the additional services available to them should use the correct terminology. When describing the museum accessibility for the group of visitors with special needs, it is advisable to specify what the accessibility includes. If there is a ramp and an elevator, but the

CHAPTER 1

211

CHAPTER 3

CHAPTER 2

Further recommendations to museum guides working with (non)visitor groups with visual impairments were the following ones:: —M ore narrative object description — The guided tour should tell a story — The number of people with visual impairments in a group should be smaller

CHAPTER 4

The group identified the following main obstacles: — The glass showcases in some of the rooms, as they make the passage of visitors with visual impairments more difficult. The problem is the small passage distance between the showcases in the middle of the rooms, not the ones close to the walls. — Adequate marking is missing; the showcases are not safe — The distance between individual objects should be larger —G lass showcases are often perceived as a threat! —M ixed light, floor reflection, contrasting light are a huge problem for people with visual impairments — Touching the objects should be made possible — All steps should have tactile marking — from the first one to the last one- rubber tactile strips should outline the way — Tactile texts are better preferred to Braille letters, as not everybody knows Braille letters

CHAPTER 5

C H A P T E R 3 : U S E F U L T I P S - B E S T P R AT I C E I N M U S E U M S

tactile (and Braille, in some cases) marking is missing, then there is no accessibility for visually impaired visitors.

—T he guide’s voice should be loud enough, with a good projection so that everyone can hear —T he guide should walk at a slower pace. More time should be given, especially when visitors are able to touch objects —E xpressions that should be avoided: ‘This thing here!’ Correct expressions: ‘Now you see in front of you…’; ‘on the left/right; clockwise’. —L aser pointers are not adequate for people with visual impairments. To summarize, the mobile exhibition should preferably be presented by an adequately experienced guide and, whenever possible, by a combination of a guide, an audio system and Braille/tactile texts. We received summarized feedback about the visitors with hearing impairments (23 people organized by the Alliance of the Deaf, with sign language translation provided) from their coordinator Damyan Kalchev and the NHM guide Stoyanka Yanakieva. The group was extremely happy and impressed both by the standing and the temporary exhibitions; their responses were quite emotional and active, and they expressed their desire to revisit the museum.

212

The evaluation regarding the work with children and young adults with special educational needs is based on observation, interviews and feedback coming from their teachers, assistants and the instructors in the NHM Children’s Centre workshops. The analysis shows high appreciation of the Children’s Centre programmes. The participants were happy with their visit to NHM; it became an unforgettable experience, entertainment and an adventure that they would like to experience again. The result is improvement of the competences in working with children with behavioural difficulties, cognitive difficulties, dyslexia and autism, and with multiple disabilities.

11. Strong and weak points Strong points: Target group representatives were included in the process of planning and developing the First Time in the Museum module adapted to students and young adults with additional needs. The First Time in the Museum module helps the museum to become ‘an open space for everyone, who wants to be more active’, and contributes to a

CHAPTER 1 CHAPTER 4

CHAPTER 3

CHAPTER 2

213

CHAPTER 5

C H A P T E R 3 : U S E F U L T I P S - B E S T P R AT I C E I N M U S E U M S

change of the mindset through ‘museum exhibitions and events’. It assists potential users in their first steps to learning about the cultural heritage in a creative, original and innovative way that helps to develop communication skills, a sense of self-esteem and belonging to the group, and its objective is to bridge the gap between the museum and the (non) visitors with special educational needs. A short video presentation of the museum was made, as well as a visit booking form; they can be used by other types of visitors as well. The preparation includes a training for the museum experts and staff having a direct contact with the audiences that will improve their skills in working with children with behavioural difficulties, cognitive difficulties, dyslexia and autism, and with multiple disabilities. It also covers a module implementation plan that includes an interactive presentation combined with activities in the Children’s Centre. In the process of implementation, the participating students with cognitive difficulties not only overcame their fear and unwillingness to feel anyone else’s touch; they even put on mediaeval costumes. The results of the feedback questionnaires filled in by the instructors and the assistants show that those groups of (non)visitors with special educational needs were happy with their visits to NHM. The visit has become an unforgettable experience for the young adults; an adventure and fun they would like to experience again. The experiment with the First Time in the Museum adapted module for SEN visitors (Yanakieva, 2014: 1106-1108) was repeated many times with other groups of (non)visitors with special or additional needs. It is apparently suitable for juvenile delinquents because the working sessions reduce

the level of stress and aggression, create positive emotions and develop communication and teamwork skills. Weak points: Some weak points were identified in the work process: — The unavailability of complete physical accessibility to the exhibition impedes the implementation of the module with all groups of visitors with special needs. — The outdated equipment impedes the work with visitors with additional needs. — There is a shortage of adequately trained staff to work with visitors with special needs. —S ome of the museum staff members lack motivation and understanding of the process. — I nsufficient information in the interested institutions (schools, resource centres, agencies and specialized establishments) regarding the adapted museum programmes for visitors with additional needs —L ack of funding for the programme continuation and sustainable development after the project is finalized

214

—D ifficulties related to the comprehension, focusing and behavior of some of the groups with special needs in the course of the programme implementation

12. Replicability of the activity When educational activities are developed, in order to encourage visitors’ participation, it is advisable that working relations are built with a wider group of interested parties in parallel with the relations established with target group representatives. We believe that it is particularly important for the success of the adapted module that target group participants are included and activated in the educational activity planning and development process. Our collaboration with the partners and target group representatives has enabled us to identify some of the possible hindrances to the development of educational activities engaging visitors with additional needs. The good collaboration has produced ideas for possible solutions.

CHAPTER 1

Explanation of the museum accessibility and information

2. Focusing

Variety of activities

3. Behaviour

Firm yet flexible guidelines

4. Comprehension

Accessible language and examples

5. Literacy

Visual information and guidelines

6. Speech

Additional and alternative communication

7. Vision

Tactile and audio channel

8. Hearing

Visual information, sign language translation, printed information

9. Mobility

Information about barriers in the physical environment, and the different levels of energy and stamina

10. Speed of answering and participation

Patience and adaptation of the tempo

11. Memory

Reiteration and reminding

215

CHAPTER 3

CHAPTER 2

1. Self-confidence

CHAPTER 4

Possible solutions

CHAPTER 5

C H A P T E R 3 : U S E F U L T I P S - B E S T P R AT I C E I N M U S E U M S

Possible obstacles because of visitorsâ&#x20AC;&#x2122; additional needs related to:

The results and the feedback have given grounds for the activities implemented under the First Time in the Museum educational module to be repeated and expanded to other target groups, such as people of different ethnic backgrounds, refugees and senior citizens, who – for various reasons – have additional needs that should be taken into consideration when developing educational activities. The module was appreciated by the colleagues from the partner museum institutions, who have adapted it to their needs.

January-May 2015 preliminary workshops with museums specialists from Bulgaria for prepraration of the Bulgarian EuroVision Labs. https://www.flickr.com/photos/emee-museums/ sets/72157652074420323 9th September 2015 workshop for young people of partner’s organizations to choose objects for the Bulgarian EuroVision Labs. https://www.flickr.com/photos/emee-museums/ sets/72157659075800001

13. Output documentation PHOTOS AND VIDEOS (LINKS) May 2014 ‘First steps in the museum’ – guided tour for people with special needs https://drive.google.com/folderview?id=0ByUNKLun ZXokWDYxNVlNNXZScUU&usp=sharing

216

09 09 2015 Workshop "Tolerance – in the past and today"

3rd October 2015 workshops with the museum public for selection the music for the Bulgarian EuroVision Labs. https://www.flickr.com/photos/emee-museums/ sets/72157659094567008

CHAPTER 1

23rd October 2015 workshop for museum specialist and mediator on the subject - how to work and attract people with special needs in the museums https://www.flickr.com/photos/emee-museums/sets/72157660313379330 18th November workshops with history teachers from Sofia schools in order to present to them the idea of the Bulgarian EuroVision Labs. https://www.flickr.com/photos/emee-museums/sets/72157660661330999

217

CHAPTER 4

CHAPTER 3

CHAPTER 2

20th October 2015 meeting with people with special needs in order to present to them the idea of the Bulgarian EuroVision Labs. https://www.flickr.com/photos/emee-museums/sets/72157660732289811

CHAPTER 5

C H A P T E R 3 : U S E F U L T I P S - B E S T P R AT I C E I N M U S E U M S

03 10 2015 Day of the music in the Museum

SLOVENIA - NATIONAL MUSEUM OF CONTEMPORARY HISTORY, LJUBLJANA 1. Activity title Museum Speed Dating Game â&#x20AC;&#x201C; a new way to bridge the gap between museums and (non-)visitors

2. Type of Museum or institution n where the activity took place National Museum of Contemporary History, Ljubljana, Slovenia

3. Activity length Half-day activity with 2 months of preparations.

218

4. Target audiences Target group of Museum Speed Dating Game on one hand were museum experts, especially curators; and young adults, aged between 18 and 35 (museumâ&#x20AC;&#x2122;s non-visitors) on the other. The goal was to place the curators into an unknown situation, out of their comfort zone, where they needed to persuade the young adults one-on-one with their multi-layered museum object. At the same time, it gave non-visitors the strength to select, what they wish to see at the exhibition and to see and be acquainted with museum staff. Later on, the non-visitors worked on their selected objects in order to prepare an exhibition.

5. Funds The cost of the game was not very expensive; however, it is time-consuming and takes at least two persons employed for a full time during 2 months of preparations and relation establishment. Approximate percentage of EMEE budget was 50%.

CHAPTER 1 CHAPTER 2

219

CHAPTER 3

Speed Dating Game is a well-known matchmaking game, in order for single people to be able to meet many new people and meet them in a limited period of time in person, one-on-one. However, through time this game was already adjusted, rearranged, adopted to reach other goals and to fit into new contexts. This is also how we came to an idea, to use and adopt the concept of the game to our situation, where it was used as a tool on the way towards an experimental exhibition. In this way, Museum Speed Dating game was a part of the EMEE experimental process, called the EuroVision Lab. 15 museum experts and 15 young adults were placed in one large room in the hosting museum (National Museum of Contemporary History) behind one large table and measured their time together while they were talking – each pair had 3 minutes of time to talk. What did they talk about? About museum objects, of course. Curators’ task was to impress, and persuade the young adults that their object is the most powerful, relatable, multi-layered and interesting. Time limitation was good, in order to avoid too long explanations, and to keep the adrenalin going,

CHAPTER 4

Museum Speed Dating could not work without openminded and playful museum experts from other museums, willing to go down the unknown and willing to work on pre-game EMEE Workshops and training. Therefore, the support of other museums was needed, which were mostly already established members of EMEE working group. However, some museums participated for the first time, exactly because of the pre-game EMEE training and workshops. At the same time, a good base for non-visitors invitation needed to be established. EMEE partner 7 invited the young adults from already established relationship, participating in their non-visitors research (done in 2014), university students from humanistic studies (museology, anthropology, museum pedagogy, history…), unemployed and people with hearing impairment. For both, museums and young adults, they made an open call with 15 places for each group, to assure the group work and make a sense of belonging possible, as well as to enable the Museum Speed Dating Game to be one-on-one.

CHAPTER 5

7. Abstract & goals

C H A P T E R 3 : U S E F U L T I P S - B E S T P R AT I C E I N M U S E U M S

6. Kinds of collaboration

even after listening to the object number ten or fifteen. It also made sure, museum object presentations were condensed and information relevant. As you can see, in this case, the museum wanted to do something special, something more fun and creative, and yet fitted to the standards of museum work in order to achieve the desired quality and the following goals. The necessary outcome of Ljubljana’s Pre-Lab. activities was to select five additional objects to their already existing Exemplary COP-Unit – Fiat 600 – Zastava 600-750. The idea of additional objects wad inserted to be able to invite the young adults to participate in the entire process of exhibition making. Therefore, the selection of objects was vital in order to prepare an experimental exhibition EuroVision Lab. with involvement of both, other museums and nonvisitor group. The plan was to involve all the participating museums, by each pre-selecting one of the most representative and important museum objects from their depots, which would be at the same time presented in a multi-layered and transnational way. Second idea was, to involve the young in the selection of objects, to increase the feeling of participation and control from the very beginning. Therefore, the young adults were the ones, who had a difficult

220

task of being the selectors – the role they were preprepared for. The desired outcomes and goals for the Museum Speed Dating Game were to bridge the gap between museum curators, who in many cases never meet their audiences; and the young, who, in case if they do enter the museum, are usually welcomed by a receptionist and that is pretty much all, who they see as a Museum. The game enabled an emotional and directed one-on-one contact and communication, which resulted in genuine and equal start of a relationship that continued throughout the exhibition preparation. One of the goals as well, was to show the humane side of people working in museums, and through fun and game offer an insight into their work to the young. Nonetheless, the intention of the game was to establish the bonds within each group – the museum curators and the young. Museums in current times of uncertainty and demands for changes sometimes still resort to competitive attitude towards “rival” museums. Therefore, it was important for the museums to realize, such an attitude results in more harm than good. Throughout the pre-Lab. activities, museum curators cooperated with one another and connected

CHAPTER 1

9. Activities EMEE Museum Speed Dating Game differed slightly from the original Speed Dating Game, where people attend without any special preparations and training. The only necessary thing there is the space and good

221

CHAPTER 4

CHAPTER 3

CHAPTER 2

Pre-Lab. activity Museum Speed Dating Game was a tool to reach a long list of objectives, with five main ones: — i mplementation of all three EMEE’s COP’s (Changes of Perspective) in an innovative way with a pinch of adrenalin — c ooperation of museums and cooperation of museums with the public — s et the atmosphere among both participant groups — the young and museum professionals — s election of multi-layered, transnational objects by the choice of the young — r eassuring the participative element with a large impact.

CHAPTER 5

8. Objectives

C H A P T E R 3 : U S E F U L T I P S - B E S T P R AT I C E I N M U S E U M S

through the difficult task they were facing. On the other hand, young adults needed to develop a sense of belonging to an exhibition making group, which is why the game was used to give the final connective touch towards evolvement of that “we” feeling.

organization to assure the relaxed atmosphere. However, to reach the quality of museum work and further exhibition work, it was vital to include the training for both of the participating groups, next to reassuring the pleasant atmosphere and lovely and big enough space. Therefore, two whole day trainings were organized based on EMEE workshop set, adjusted for the needs of each group separately. At the beginning, museum experts and young adults met separately with slightly different focus on different EMEE Workshops, set, adjusted for the needs of each group separately. At the beginning, museum experts and young adults met separately with slightly different focus on different EMEE workshops, to be able to perform the Speed Dating Game as a final and third meeting, where both groups were joined. For that purpose, museum curators have met once a month, for minds-on oriented workshops, dealing with topics such as reinterpretation of museum objects and multi-layered presentations of museum objects; help of scenography in telling those hidden stories of the objects; museums as social arenas; and bridging-thegap with the visitors and reaching towards the nonvisitors. Their task was to work together in groups on

222

the spot, pre-selecting the most suitable and representative museum object that has special value to its museum on one hand, as well as rich multi-layered meanings, which are often overlooked, on the other. Workshops were planned once a month in order to set the steady meeting date and to ensure adequate time for individual work after the workshops. Through minds-on activities, the curators did not prepare only for the game with the young, but at the same time they also started treating their objects from their museum from another perspective â&#x20AC;&#x201C; the broader one. Simultaneously, within only a few days of difference, also a group of young adults was meeting on EMEE Workshops. Since the young were the final selectors of the objects, as well as the ones, who were creating the exhibition in cooperation with the EMEE partner in the end, the emphasis of the mindson activities were given on slightly different topics to equip them for their tasks. Again, the knowledge on multi-layered objects was important for them to recognize the quality of presented objects during the Speed Dating Game. The use of scenography was very important in order for them to tempt the meanings and transnational story of the selected objects. Finally, they needed to get an insight into usage of

CHAPTER 1 CHAPTER 4

CHAPTER 3

CHAPTER 2

223

CHAPTER 5

C H A P T E R 3 : U S E F U L T I P S - B E S T P R AT I C E I N M U S E U M S

social web in the museum and museum work, to be able to prepare a well-accepted exhibition propaganda and reach the visitors as well as non-visitors and invite them to their exhibition. The Speed Dating Game itself represented a mind-on and handson activity, since museum experts tried their best to present the objects as plastic and originally as possible. Majority of them brought the objects with them; they allowed the young adults to discover them in person. After two very lively hours of playing, museum experts went to the photographers, to be photographed with their objects. In the meantime, young adults were in a quarantine, running a tough discussion, which five objects should be included into the core of the exhibition. It took them quite a lot of arguments and rounds to come to the final ones in the end. The results were presented also to the curators and concluded with a sip of champagne and something sweet to top it all off. It would be a lie, saying there was no disappointment among the ones, whose objects were not selected, even though it was all a game. Museum Speed Dating Game presented a conclusion of formal meetings with museum curators; however, it presented only the beginning of work for the young adults. In any case, it was of high importance that the participants left after the game happy, satisfied, with a feeling of achieving something important, and starting new friendships. The latter was necessary for both groups to establish a relationship between them, to be able to prepare all the objects for the exhibition. For that purpose, young adults were trustees to the museum objects â&#x20AC;&#x201C; each person was responsible for one object. Additionally, the trustee of an object had

10. Results

Museum experts took their playing seriously, May 2015, Photo: ÂŠ Gilberto Mazzoli.

to interact with the museum curator, from which the museum object came from. Therefore, the work was not over with the end of the game, it rather continued and it connected the former non-visitors with the museum exerts on a new level, where they became co-workers, all aiming to reach the same goal: quality presenting the museum objects, as good and as interesting as possible.

224

The whole preparation process with the final Speed Dating Game worked out perfectly for the organizer, despite some initial fears and second thoughts. Through this process, they have managed to sow the idea of joined museum work among the participating museums, and the importance of the broader museum objectsâ&#x20AC;&#x2122; presentation. Not only multi-layered objects enable the visitors to relate easily to them and to start slowly perceiving museum as their place; they show the national or regional heritage in a broader, European, and even more valuable perspective. It is a win-win situation for museums. Through bridging-the-gap and initiating the museum as a safe place of interactions, change of perception occurred also with the young adults. Before coming to the EuroVision Lab. workshops, they still carried the museums mapped in their mind as dull, dusty and quiet, whereas people working in museums as unreachable, uninterested and foreign to the audience. The goal was to change this through the whole process and to demonstrate, museums can be useful and fun, and the people working there ap-

CHAPTER 1

Since this was the pilot version of such museum work with other museums and organizerâ&#x20AC;&#x2122;s non-visitors, they were very eager to get an insight into the participantsâ&#x20AC;&#x2122; opinion. For that purpose, they prepared an internal paper questionnaires that specifically supplemented the EMEE Evaluation of the EuroVision Lab. After the Speed Dating Game and after the object selection, all the participants were gathered for a short talk and feedback moment, to get that instant response from the participants. That was important also for the participants to hear themselves in a group and to be able to share their feelings, impressions. For a more intimate and private feedback, the mentioned questionnaires were distributed and returned anonymously to us. Most of the feedbacks were highly positive, followed by enthusiasm and excitement. The only thing with a hint of negativity was that both, museum experts and young adults, were quite exhausted after the game. They have really put themselves into that, therefore, they were tired in the end.

225

CHAPTER 4

CHAPTER 3

CHAPTER 2

11. Evaluation of the activity

CHAPTER 5

C H A P T E R 3 : U S E F U L T I P S - B E S T P R AT I C E I N M U S E U M S

proachable and pleasant. The organizer wanted that the young experienceed the meaning of museums as social arenas and to establish a long-term relationship, where a museum is also their place for dialogs, debates, coming up with new projects and ideas.

12. Strong and weak points The strongest point of this experimental game was in fact, in its novelty to the players. None of the participants has ever played this game before in any of its variations. This was the element, that made sure, a fair share of adrenaline and enthusiasm was present at all times. Two groups, who did not know each other before, had a goal-oriented fun together, while bridging-the-gap between them and establishing new friendships. The next thing that helped the event become a success was the knowledge this will bring out something greater – an exhibition. Museum curators were very pleased to spend some intense quality time with people, who are on the other side – the ones who come and see their work and efforts. They were also very pleased, this was a part of a process of empowering the young, reassuring them the experiences and knowledge, they can use in the future. Organizers’ greatest fear was that museum experts would not be in favour of playing the game, nor willing to accept the reinterpretation of the objects as a possibility and recommendation in their future museum work. Both turned out to be a nuisance, and there were hardly any problems or weak points at all.

226

However it must be said, this way of implementation of the Speed Dating Game was not the easiest one. It took time, energy and enthusiasm of the ones organizing it, in order to spread this enthusiasm onto the participants and make sure, it will succeed. Therefore, the weak point would be time-consuming preparations and the EuroVision Lab. process in total; however, it was worth it.

13. Replicability of the activity Museum Speed Dating Game has endless possibilities of variations. There is no need to use it as a tool to gain the object selection, which is finalized in an exhibition. It can be a final goal on its own. A means of object presentation and meeting the museum staff through a fun experience. It is a very well accepted way of museum opening up to the public and can be used as a medium in presenting the museum collections, especially the ones that never or rarely make it to the exhibitions. It can be performed only by one museum or in a cooperation with many – as it was in our case. Of course, it is easier and less timeconsuming, to perform it on your own. However, the

CHAPTER 1 CHAPTER 4

CHAPTER 3

CHAPTER 2

227

CHAPTER 5

C H A P T E R 3 : U S E F U L T I P S - B E S T P R AT I C E I N M U S E U M S

collaboration with museums does spice things up and connect the museum participants in a new way â&#x20AC;&#x201C; suddenly they share a new experience. The responses of all the participants were encouraging, since all of them left with satisfaction and smiles on their faces, saying they would love to play this again any time. Additionally, all the responses on social web were extremely positive, appealing to make this more often and give an opportunity to more people to play the Museum Speed Dating Game. We realized people like to play; therefore, the game itself could be used as a museum special event material to spice up the happenings in the museum and to attract new audiences by offering something fresh and on the first glimpse, maybe even goofy. All it needs is the pre-selection of objects, which can be done randomly by the curators, or it can be done on a certain topic â&#x20AC;&#x201C; options are endless. After that, a space and organization must be taken care of, and you are ready to go.

14. Output documentation Photos

Videos

Happy faces in the end and a lovely informal conclusion with mingling among both of the participating groups, May 2015, Photo: © Gilberto Mazzoli.

Proposed hashtags: #EMEEEuroVision #EuroVisionLab #MuseumSpeedDating #NonVisitors #ReachingAudiences #MuseumAsSocialArena #MultiLayeredObjects #Edutainment #EMEEWorkshops #SocialWeb #BridgingTheGap

Muzejske "zmenkarije" / Museum "speed dating"

228

Muzejske "zmenkarije" / Museum "speed dating" instead of the regular object selection

CHAPTER 1

2. Type of Museum or institution n where the activity took place National Museum of Archaeology, Lisbon, Portugal

3. Activity length Eight months of exhibition with four months of preparation (including the planning and the making off)

4. Target audiences The main target group of this exhibition are the National Museum of Archaeology’s visitors from Portugal and Lisbon. This museum has more than 100 thousand visitors per year (about 60% foreign and 40% Portuguese). The fundamental objectives are: to reach young adults, aged

229

CHAPTER 3

CHAPTER 2

Europe Through our Objects: one object, many visions

CHAPTER 4

1. Activity title

CHAPTER 5

C H A P T E R 3 : U S E F U L T I P S - B E S T P R AT I C E I N M U S E U M S

PORTUGAL – NATIONAL MUSEUM OF ARCHAEOLOGY, LISBON

between 18 and 35 (museum’s non-visitors), and foreign visitors, especially Europeans; to engage visitors to a new way of looking at the objects by inviting them to establish correlations between the archaeological objects and the contemporary objects. Thus, visitors become co-producers of knowledge because they make their own interpretation of the object’s functions, creating relations between them.

5. Funds This exhibition was 50% funded by the EU Culture program (EMEE project) and 50% by the General Directorate of Cultural Heritage.

6. Kinds of collaboration The exhibition included the collaboration of several museums, scientific associations and universities. It is also important to highlight the cooperation of the workgroup member "Projecto Estela" in the exhibition, during the preparation phase. During the activities implementation, we had the support of Art Museum of

230

Prehistory and the Sacred in the Tagus Valley, Mação, and the Archaeology Centre of Almada. It is also important to emphasise the collaboration of universities, by bringing young professionals and referring to this exhibition as an example of interaction with audiences. Also, the participation of students of the Faculty of Social and Human Sciences, New University of Lisbon, the Faculty of Arts, University of Lisbon, the Lusophone University and the Piaget Institute.

7. Abstract The EuroVision – Museums Exhibiting Europe (EMEE) has as it's primary purpose motivating visitors to reinterpret and gain greater awareness of the common European heritage, thus making museums more accessible. In this exhibition, five objects from different historical periods are presented: they are all from the Portuguese territory, but could also be found in other parts of Europe. The distances of time and space are blurred so that anyone – person or community – can, by its own, reinvent them, according to their world-

CHAPTER 1

The main objectives are: — To allow visitors to create their readings on the objects’ function, starting from the association of ideas between objects of the past and objects of the present; — To provide new perspectives and ways of getting to knowing our Heritage;

231

CHAPTER 4

CHAPTER 3

CHAPTER 2

8. Objectives

CHAPTER 5

C H A P T E R 3 : U S E F U L T I P S - B E S T P R AT I C E I N M U S E U M S

views. Visitors are, therefore, invited to discover and reinterpret these old and ever new objects. This exhibition arises from the need the museum had to create a more effective way of communicating with its audiences, especially the non-visitor groups (young adults and seniors). After a research study, the Portuguese EMEE team concluded that it was necessary to reformulate one of the museum entrances, making it more appealing to visitors and allowing a greater openness of the museum. Therefore, the museum has gone from an outdated museological paradigm, in which the objective was to create mystery and reveal little of the collections, to a new vision that invites to a visit and participation. Thus, it was possible to take advantage of the binomial building-collections, allowing all visitors a first pleasant and inviting visual reading, in addition to being an exhibition under one of the main ideas of the project: ‘One object, many visions", it’s also "One museum, many visions".

— To establish relationships and parallels between the objects that are part of the common European heritage; — To explore the concept of Change of Perspective (COP), allowing visitors to become co-producers of knowledge; — To contribute, in an active way, to the construction of the EMEE-'School of perception', under the slogan "We are all European", since Europe is a result of the testimonies of people, who lived here. Heritage is the most effective way to understand the genesis of what it means to be European.

9. Activities The EMEE Portuguese team developed a specific program of activities for this exhibition. There are various types of activities taking into account their specific goals. So there were activities timely, that took place only one time and recurring activities that are carried out in a way to be repeated according to a defined schedule.

232

— What is this? See Europe through the objects Guided tour for young adults in that using the techniques of educational communication, the participants go through a process of learning by discovery, finding the answers to your questions. At the end should know how to establish links between the objects’ functions from the past and the present. This guided tour was held on a regular basis

CHAPTER 1

— How did Prehistoric man make their ceramics? The civilization of "bell-shaped vase" documents a new reality in Europe. In this workshop, the visitors are invited to participate in an experimental archeology activity, knowing the various forms of manufacture

233

CHAPTER 4

CHAPTER 3

CHAPTER 2

— How the Prehistoric men’s did their own instruments? The Biface was an authentic “does it all”, although the production is rudimentary. In this workshop, the visitors begin by getting informed about the exhibition. Starting from the informative panel of the Biface, the participants are invited to participate in an archaeology trial, understanding the different ways of the manufacturing instruments in Paleolithic times. This activity was held on the 8th of May 2016, in partnership with the archaeologist Pedro Cura of the Museu de Arte Pré-História e do Sagrado no Vale do Tejo em Mação (Museum of Pre-Historical Art and the Sacred for Tagus River Valley). This activity was free for visitors.

CHAPTER 5

C H A P T E R 3 : U S E F U L T I P S - B E S T P R AT I C E I N M U S E U M S

— Europe through our objects: One object – many visions Guided tour for young professionals from archaeology, history, art history, museology, tourism, and education sciences. This visit addresses the issues related to the planning and execution of the exhibition. It reveals the goals and the main museographic solutions. This guided tour was held on a regular basis, in accordance with the marking made by the various universities and other institutions of higher education.

of ceramic objects of the time. Through activation processes, participation and communication, reflecting and expressing their own approach, the visitors were invited to produce their own materials. This pottery workshop was held on June 5, 2106, in partnership with Archaeology Centre of Almada and José Carlos Serra. — Come see magic through our objects - Hands-On Activity The Alquerque game is the starting point for a new perspective of interpretation (pedagogical approach to the exhibition). We seek to inform contexts and evolution of the board game, dice or cards, throughout history, through small numbers of magic. Visitors get to know the exhibition, ending on the last information panel. From that moment, they are invited to enter an imaginary world full of magic and stories. The participant will have to resort to concentration, testing logic through activation processes, participation and communication, reflecting and expressing their own approach to the challenges posed. This activity was held in May 2016.

234

10. Results With this exhibition we aim to contribute in a clear way to how visitors operate an EMEE-Change of Perspective (COP). By this we mean that the visitors experience the museum's objects in different ways and they are invited to "discover" the meaning of objects. The multi-layered objects enable the visitors to understand the national or regional heritage in a European perspective. The 'Bridging-the-gap' activities were designed to enable a closer contact to the Portuguese heritage. By this we intended to operate a 'Change of Perspective' in the visitors. The museum allows the interpretation of the objects and the visitors felt like they are really understanding and taking part of the learning process.

11. Evaluation of the activity From the beginning, the main purpose of this exhibition was to involve the visitors. We wanted to understand how visitors interact with the exhibition. How they “build” their own construction of knowledge? Thus an assessment tool which is based on the principle of observing the behavior of visitors was created.

CHAPTER 1

Photos: ÂŠ National Museum of Archaeology, Portugal

The strongest point of this exhibition was the engagement with the visitors. Each visitor made his own experience on the mental construction of object interpretations. Another strong point was the way they interact with the exhibition. Most of the persons took a lot of pictures to the objects (the archaeological objects and the contemporary objects as well). They loved the way that the objects were put in relation and were fascinated by the dialogue between objects from the past and the present.

235

CHAPTER 4

CHAPTER 3

CHAPTER 2

12. Strong and Weak Points

CHAPTER 5

C H A P T E R 3 : U S E F U L T I P S - B E S T P R AT I C E I N M U S E U M S

An observation grid based on methodologies of education sciences applied to museology was created. This observation method allows to determine how visitors interact in a natural way without direct intervention of the museum's mediators. The observation was made on the 1st Sunday of each month when the access to the museum is free and once in the morning and another in the afternoon. Opting for this day has to do with the fact that this exposure is primarily addressed to identified groups of non-visitors who enjoy precisely the fact that it is free to visit the museum. For this evaluation process it was determined that the visitors of this exhibition felt more attracted to films about how the instruments were done in the past, the interactivity of tablets and especially the innovative museographic solutions to engage the visitors with the objects. From February 2016 until the end of August, more than 80 000 people visited this exhibition, so we consider it a big success.

The interactivity with the tablets was as well very interesting. We notice that not only the younger generations liked but also the adults. People like to touch and explore by themselves. The resources created for the tablets were different in order to allow visitors to have different kind of information and interaction. The weak points were connected with internet speed. By this reason digital solutions were not very used by visitors. The augmented reality solutions and the QR code were rarely seen. When we realize this technical difficulty, we promoted several solutions such as guided visits to show how to use augmented reality (AR). Another weakness was the little space for the exhibition that we had to manage. This exhibition needed more space to develop more interpretations and allow visitors to made new perspectives of interpretation.

236

13. Replicability of the activity This exhibition was created to be replicated in several museums. The artifacts chosen can be found in any country in Europe, as well as contemporary objects that represent the evolution of them, for instance, a biface (hand ax) and its corresponding current as the Swiss Army knife, hammer, ax, etc.). After being on display at the National Archaeological Museum, this exhibition will become a travelling exhibition.

CHAPTER 1

Hashtags: #EMEEEuroVision #EuroVisionLab #NonVisitors #ReachingAudiences #EMEEWorkshops #SocialWeb #BridgingTheGap

237

CHAPTER 3

CHAPTER 2

Videos: https://www.youtube.com/ watch?v=oT_T35iPs3o http://www.dermandar.com/p/ aWEsGS

CHAPTER 4

Photos:

CHAPTER 5

C H A P T E R 3 : U S E F U L T I P S - B E S T P R AT I C E I N M U S E U M S

14. Output documentation

238

239

CHAPTER 5

C H A P T E R 4 : D I S S I M I N AT I O N

The EMEE project produced a series of nine film clips in cooperation with RedaktionsbĂźro Ost, a film design company from Vienna/Austria. Seven clips with a running time of 3-4 minutes each represent the seven EuroVision Lab.s in Austria, Bulgaria, France, Germany, Italy, Portugal and Slovenia, one clip for each Lab. One longer film document compares, analyzes, and summarizes the various Lab. activities in order to illustrate the theoretical basic concept of the EMEE Change of Perspective as realized in the practical activities. An additional film presents the idea and the results of the EMEE Young Scenographers Contest on the occasion of its awarding ceremony within the context of the Designmonat Graz, an international design festival in the Austrian city of Graz. The films do not settle for just providing visual impressions of the different project activities. Rather, in each of the films a number of representatives of the EMEE project team and cooperation partners from the EMEE network make short statements about the objectives of the respective EuroVision Lab. activity and the methodology used to achieve them. Moreover, participants of the EuroVision Lab.s and museum visitors give details about and reflect on their work and their experiences with the EMEE project. Similarly, leading experts from international museum networks like ICOM and NEMO were interviewed, contributing their own perspective and thus enhancing the scope of the films. They all place the project and the respective activities on site in context with regard to current debates on the future of museums in Europe.

CHAPTER 4

CHAPTER 3

CHAPTER 2

CHAPTER 1

CHAPTER 4: EMEE FILMS FOR INFORMATION AND FURTHER TRAINING

The mainsprings of the production of the EMEE films were to make the EMEE project and its results accessible to a wider audience and to document the project itself. Furthermore, the film clips are specifically intended for use in education and training of museum experts and function as an integral component of the EMEE workshops and of the study module. By June 2016, the EMEE film clips had reached about 2,500 views. They are available on the projectâ&#x20AC;&#x2122;s website and on www.youtube.com/user/emeemuseums.

240

241 CHAPTER 5

CHAPTER 4

C H A P T E R 4 : D I S S I M I N AT I O N CHAPTER 3

CHAPTER 2

CHAPTER 1

NEWSLETTERS

1st EMEE newsletter – December 2013 Download: [English]

242

2nd EMEE newsletter – September 2014 Download: [English]

3rd EMEE newsletter – July 2015 Download: [English]

Hendriks, M., Progin, J., Warzée, B., Le François, C., Baldner, J.-M. (2016), Jérôme Progin, Maison de la Bataille, Marie Hendriks, Musée de l'hôtel Sandelin, Saint-Omer: EMEE / Espace 36. – July 2015 Download: [English] [French]

243

CHAPTER 1 CHAPTER 4 CHAPTER 5

C H A P T E R 4 : D I S S I M I N AT I O N

CHAPTER 3

CHAPTER 2

FLYERS

EMEE FILMS AND PROMOTION CLIPS

EMEE Project and the 3rd General conference in Vienna/Austria June 2014 (a student´s work) Download: [English]

‘Change of Perspective’ – a film about the EMEE main concept (a student´s work) Download: [English]

EMEE Young Scenographers Contest – Watch and register until 28/11/2014! Download: [Bulgarian] Photo: © University of Augsburg, Germany

244

CHAPTER 3

CHAPTER 2

CHAPTER 1

CHAPTER 5: SUMMING UP EMEE

THE EMEE-PROJECT AND ITS OUTCOMES

CHAPTER 5: SUMMING UP EMEE

CHAPTER 4

The EMEE project can be considered an experimental study of field research. Its foundation is an interdisciplinary theoretical framework that strives to strengthen the transregional and European dimension in the museum development of local, regional and national history museums. Against this backdrop, three presuppositions are of crucial importance: (a) The development of the European dimension is applied to existing object collections. (b) This development is built on the idea that local, regional, national and European dimensions of the cultural heritage in Europe are connected manifoldly through close and multiperspective links and imply many inextricably linked layers of meaning. (c) Moreover, developing the European dimension does not exclusively refer to the re-interpretation of suitable object collections, but rather â&#x20AC;&#x201C; and again in a multi-perspective way â&#x20AC;&#x201C; it refers to the interconnection between the re-interpretation of objects, the further development of visitor participation and the international exchange of experts. These three main components of the EMEE project were combined in the concept of the Change of Perspective (COP). The question of its practical applicability was addressed during the second and third stage of the project and empirically tested and evaluated in the course of planning, developing and executing the EuroVision Lab.s.

245

During the first step, the partners focused on transforming the theoretical foundations into a feasible and comprehensible methodological concept that included examples for better illustration to render practical application possible. With this in mind, five so-called ‘EMEE Toolkits’ and a collection of 33 Exemplary COP-Units were created that integratively apply all dimensions of the Change of Perspective to selected museum objects. These practical-methodological approaches formed the basis for an empirical trial of the EMEE concept through specifically designed ‘laboratories’. Their main purpose was to detect and rectify any problems or difficulties occurring during the application of the theoretical concept and the methodological approaches to a practical context. The findings recorded during the practical application enabled the team to draw important conclusions concerning the results of their four-year project-work and its basic concept. Thus, the evaluation of the network partners’ Lab. projects showed that the EMEE concept proves to be suitable and effective for practical museum development, with the concept yielding valuable results in terms of quality. These initial outcomes certainly

246

need to be tested further in future. However, upon concluding the project, a first recommendation for policy-makers and stakeholders can be given with regard to its future potential: In view of what has been mentioned above, conducting further studies would undoubtedly be worthwhile and provide valuable insights.

RE-INTERPRETING OBJECTS FROM A EUROPEAN PERSPECTIVE (COP 1) The empirical study placed particular emphasis on evaluating the practical potential of the concept of COP 1 – i.e. the re-interpretation of objects and topics from a transregional/European angle that links and integrates both regional and national with European perspectives. For this purpose, a multi-perspective approach to, as well as interpretation and presentation of objects is required to convey to the audience that a given museum object can simultaneously be placed within a regional, national, European and even global context (for the basic concept of ‘European identity’, cf. pp. 13-16). and that these different levels of meaning can reinforce and complement each other in an elucidating way.

CHAPTER 1 CHAPTER 2 CHAPTER 3

CHAPTER 5: SUMMING UP EMEE

CHAPTER 4

The multi-perspective interpretation and presentation of objects allows for a flexible attribution of meaning that challenges visitors to form their own opinion on the interweaving of regional, national and European levels of meaning, and encourages them to not simply accept the interpretive patterns provided by the museum experts, but rather to proactively explore their own views and ideas and contribute them to the exhibition. With regard to the COP 1, it turned out over the course of the project that the EMEE Toolkit 1, which revolves around the re-interpretation of existing museum collections from a transregional/European perspective, was able to provide important input for practical contexts. Moreover, museum experts deemed it a valuable tool that opened up new ways of perceiving and approaching a given object or object group. As team members noticed, especially city and regional museums succeeded in applying this approach innovatively when reinterpreting their existing collections in a transregional and European way. At the same time, it became evident while working on the Exemplary COP-Units and organizing the numerous workshops for museum experts that the re-interpretation of existing museum collections requires a lot of research when using these new approaches. Often, the existing body of research and/ or the existing object descriptions fail to provide the information required for developing said transregional/European perspectives on the cultural artifacts in question. Instead, they must be developed from scratch in certain cases, which requires time-consuming research effort. Thus, another recommendation for policy-makers and stakeholders is that, in or-

247

der to strengthen the European dimension in the perception, interpretation and presentation of the local, regional and cultural heritage on-site, it is essential for policy-makers to strive to support, endorse and fund further research on European and transregional topics in the field of material culture. After all, museum curators are – in most cases – already struggling to juggle their responsibilities and thus are unable to step up and put in the required additional research effort. Furthermore, employing the COP 1 showed that the multi-dimensional re-interpretation of museum objects is, at times, hampered in some countries or institutions by persistent preferences for a certain form of interpretation. This occurs on a regional as well as on a national level. Thus, giving up treasured forms of interpretation for the sake of a more flexible and open-minded perspective on objects that allows for highlighting several aspects simultaneously and asks for new angles can be seen as one of the biggest challenges for the strengthening of the European dimension within a multi-perspective framework. Promoting continuous further training for the museum staff can prove extremely useful to overcome this challenge. In this regard, the EMEE workshops can be seen as a first step in the right direction, although

248

– and this is another recommendation for policy-makers and stakeholders – further training particularly in this field needs to be supported more on a European level. The insights gained during the experimental field research also show that the EMEE workshops, Toolkits and Exemplary COP-Units are only able to make a useful contribution to the successful application of the COP 1 and to the strengthening of the European dimension of cultural heritage, if museums become more open-minded and are willing to give up their deeply ingrained regional and national perspectives to explore new interpretations. However, a project of museum development alone cannot effectuate this change of attitude. Rather, it must become part of society’s general outlook that includes (or rejects) multi-perspective interpretations and plurality of viewpoints as part of a multicultural population. The experiences gained throughout this project thus prompt us to give another recommendation for policy-makers and stakeholders, namely that a European competition and/or a European award for local, regional and national museums that make an decisive effort to strengthen their European dimension with the means available could stimulate

CHAPTER 1 CHAPTER 2 CHAPTER 3 CHAPTER 4

a process that provides incentives and encouraging examples even for those museums with a more traditional outlook.

CHAPTER 5: SUMMING UP EMEE

THE CHANGE OF PERSPECTIVE BETWEEN MUSEUM EXPERTS AND VISITORS (COP 2) The concept of COP 2, i.e. the Change of Perspective between museum experts and visitors, aims for increased ‘activation’ and participation of the audience and also for active involvement of so-called ‘non-visitor’ groups. The increased level of ‘Europeanization’ of museums refers here mainly to the improvement of accessibility to the cultural heritage of Europe preserved in regional and national museums for as many citizens as possible. With this in mind, the EMEE concept asks museum experts to share their prerogative of the interpretation of cultural heritage at least partially with the audience. Consequently, the goal is not for the interpretation of the audience to replace the curators’ expertise, but rather the aim is for these two perspectives to communicate and for the potentially opposed interpretations of experts and visitor groups to spark an interest in citizens to visit museums and to encourage them to express their own opinion. The empirical results gained while conducting field research indicated, on the one hand, a number of problem areas that have long been known by scholars. To give an example, it became evident that these new ‘participatory’ approaches on the Change of Perspective between museum and audience are most successful if this goal is accepted and supported by the vast majority of the museum staff. In particular,

249

museum development can be difficult within big institutions or institutions with a more traditional outlook. Furthermore, it must be said that working with a participatory outlook and/or exhibition concepts requires quite a lot of staff development and is also rather time-consuming. On the other hand, however, and regardless of these challenges, the EuroVision Lab.s of the participating national museums were able to accelerate a fruitful learning process – not necessarily right from the start, but especially during the progress of work and, most importantly, with regard to end results. The EMEE project proved to be a suitable catalyst for the experimental application of new approaches: Doubts of the museum staff could be dispelled as the new concept turned out to be feasible and cleared up further as a result of its popularity with the audience and public. Thus, regarding this particular area of the project, our recommendation for policy-makers and stakeholders is to provide more support for research studies on conditions and methods of museum development in line with the concept of a ‘learning museum’. In this field, more viable opportunities for new insights must be created.

250

INTERNATIONAL EXCHANGE OF MUSEUM EXPERTS AND THE CHANGE OF PERSPECTIVE (COP 3) With regard to the COP 3 that refers to the international – and also interdisciplinary – exchange of museum experts and scholars working in related fields, the experimental outlook of this project yielded a number of interesting results. To begin with, the project showed once again the usefulness and fruitfulness of a collaboration with an interdisciplinary outlook. However, the challenges arising from differing approaches to museum projects and varying terminologies must not be underestimated. The project revealed that, apart from other challenges, ongoing, two-way communication and the process of reaching an understanding on a consistent terminology alone proved to be very challenging and time-consuming, since the different disciplines involved barely share a common ground at this point. The recommendation for policy-makers and stakeholders is thus to develop and/or support suitable strategies for the field of museum studies in Europe that strive to incorporate this form of interdisciplinary collaboration of different disciplines and the at times clashing notions and viewpoints on all levels of training for museum experts.

CHAPTER 1 CHAPTER 2 CHAPTER 3

CHAPTER 5: SUMMING UP EMEE

CHAPTER 4

Finally, over the course of the project it turned out that international collaboration constitutes a vital prerequisite for the strengthening of the European and transregional dimension of the re-interpretation and presentation of local, regional and national museum collections. After all, it is virtually impossible to develop comparative, transregional perspectives on object groups from different countries without ongoing international exchange of curators on the cultural heritage on-site and ample opportunities for both sides to become familiar with hitherto neglected object collections and the local view on it. At the same time, the projectâ&#x20AC;&#x2122;s experimental focus showed that, empirically, the success of the international collaboration depends largely on the expertsâ&#x20AC;&#x2122; exchange revolving around well-defined topic areas. Only then the scientific discourse can lead to innovative re-interpretations of object groups that include transregional and European perspectives alongside a regional and a national angle. The EMEE project succeeded in overcoming this challenge by setting up an international network of museum experts, cultural workers, scenographers, mediators in the field of history culture and media experts, who all share a keen interest in the Change of Perspective and its potential as an innovative approach to the strengthening of a European dimension of our cultural heritage. This network proved to be an extremely important resource for the work of the project team. Therefore, our recommendation for policy-makers and stakeholders is to continue to support this network to make the ideas of the EMEE project, which were, by and large, effective and feasible, available to an ever growing circle of museums and interested parties.

251

This brief overview was intended to delineate future areas of further research and strategic measures within the field of European museum development. It also intended to call for further steps to continue this promising process started by the EMEE project. For this purpose, conducting additional research in interdisciplinary theoretico-practical European networks would be highly advisable to be able to provide scientific evidence to support future findings.

252

Augmented Reality: integration of digital information with overlap in real environments. Full Screen Reading: To provide a better read, you can view information in full screen Hashtags: The hashtags allow hyperlinks within the e-book, indexable by search engines. Thus, other users may click on hashtags or pick them up on search engines like Google Hiperlinks: Activating a hyperlink, a jump is made to the address associated with the link. This can be a word, phrase or node of the same document or another domain address. Images: hypermedia systems in images and illustrations to expand the usability of the interface. Navigation: Access different pages of the ebook PDF: Universal print format Printing: Print one or more pages of the e-book Send e-book: To spread the ebook to anyone who wants Table of contents: It allows access content faster Thumbnails: View the pages of your e-book in miniature and access selected pages by clicking on their thumbnails Video: To access short video content

253

CHAPTER 1 CHAPTER 2 CHAPTER 3 CHAPTER 4 CHAPTER 5

This e-book is design to be a practical tool for museum professionals, students and other researchers in the field of Humanities and Social Sciences. This is an interactive publication were the users are invite to use a wide range of didactical resources.

EUROVISION â&#x20AC;&#x201C; MUSEUMS E XHIBITING EUROPE (EMEE)

GLOSSARY

IMPRESSUM

This project has been funded with support from the European Commission. This publication reflects the views only of the author, and the Commission cannot be held responsible for any use which may be made of the information contained therein. This publication was developed in the scope of the project ‘EuroVision – Museums Exhibiting Europe (EMEE)’. This e-book is based primarily on the EMEE website and on Schumann, J., Popp, S., Mayer-Simmet, O., Schilling, S. and Wolf, D. (2016), The EU Project ‘Museums Exhibiting Europe’ (EMEE): Ideas, Results, Outlooks, Vienna: edition mono/monochrom. Grant Agreement Number: (2012-1243 | 001)

COORDINATOR OF THE EMEE PROJECT (2012-2016): Prof. Dr. Susanne Popp, Chair of History Didactics Susanne Schilling M.A., project leader Augsburg University Universitätsstraße 10, 86159 Augsburg, Germany www.museums-exhibiting-europe.eu

PROJECT PARTNER: National Museum of History, Bulgaria National Museum of Archaeology, Portugal National Museum of Contemporary History, Slovenia ESPÉ de l’académie de Créteil-UPEC, France University Degli Studi Roma Tre, Italy Kunstverein monochrom, Austria Atelier Brückner GmbH, Germany

CONCEPT, DESIGN AND LAYOUT OF THE PUBLICATION: Sabine Hibler, Uwe R. Brückner, Linda Greci, ATELIER BRÜCKNER FINAL ARTWORK: Kerstin Halm, monochrom, João Valado COVER: Kerstin Halm, monochrom, João Valado

AUTHORS: Mário Antas, Mafalda Ramos, Miguel Feio, Jutta Schumann, Susanne Popp, Oliver Mayer-Simmet, Susanne Schilling NATIVE SPEAKER PROOF READING: Natacha Rocha

COPYRIGHT: This publication is available under the Creative Commons attribution-nonCommercialnoderivatives; additional terms may apply. http://creativecommons.org/licenses/by-nc-nd/4.0/ deed.en

September 2016 ISBN: RECOMMENDED CITATION METHOD: The EMEE consortium (eds), EuroVision - Museums Exhibiting Europe. A Tool for Change of Perspective in Museums, Lisbon. www.museuarqueologia.pt/ documentos/ebookemee

The editors and the publisher would like to state that all images in this book were quoted solely for the purpose of scholarship and research. Every effort has been made to trace copyright holders. The editors and the publisher will nevertheless be happy to correct any error of omission or commission at the earliest opportunity.

With the support of the Culture Programme of the European Union

258