Exhibitions in and outside of the House of European History (original) (raw)
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The House of European History, a museum under construction in Brussels, is based on the idea that main events and key developments in European history which have been formative for the continent were transnational, even though they were experienced in very different ways. The House of European History aims to become a “reservoir of European memory”, a reservoir of a shared memory in the dual sense of the word: European history has bound us together and it has divided us.
Exhibiting Europe in Museums. Transnational Networks, Collections, Narratives and Representations, 2014
A O museums and meetings of museum organizations as well as to interviews with directors and curators in museums, historians on advisory boards and politicians engaged in cultural policy, all of which are listed at the back of the book. Th is extensive research was made possible by a Research Council of Norway grant (187908/V20) that also gave us valuable time writing the book. In the course of the three-year research project we organized four workshops in Trondheim, Wroclaw, Manchester and Wassenaar/Amsterdam and a fi nal conference in Oslo. At these events we received valuable input from many interlocutors, including museum practitioners who cannot possibly all be listed here, but whom we would like to thank collectively. We are especially grateful to the other members of the project team for their valuable insights: Leonore Scholze-Irrlitz from Humboldt University in Berlin and the two Ph.D. students Steffi de Jong and Torgeir Bangstad from NTNU Trondheim. In the context of the larger research project, Steffi de Jong worked on the role of eyewitnesses in the musealisation of the Second World War and Torgeir Bangstad on the Europeanisation of industrial cultural heritage. Kerstin Poehls would also like to thank Denny Chakkalakal for his support with the literature search and manuscript revision. Finally, we would like to thank Keith Tribe for his assistance in the translation.
Culture. Society. Economy. Politics, 2(2), 2022, p. 63–79
Contemporary collecting relies on the expertise of museum professionals. They identify, acquire, and safeguard current objects and testimonies that can illustrate and challenge history writing in the future. This paper presents the contemporary collecting endeavours of the House of European History—a museum that opened its doors in Brussels in 2017, as an academically independent project of the European Parliament. It contributes to the current discussion on best practices in collecting materials relevant to present-day society and documenting history in the making. In particular, it stresses the importance for a history museum to document significant aspects of the present and focuses on two recent collecting actions of the House, which were undertaken to document the COVID-19 pandemic and war in Ukraine.
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This article is concerned with some of the implications of the fact that Europe is so widely seen as a place replete with heritage, museums and memory, and also with the continuing expansion in numbers and types of heritage, museums and memory. It seeks to explore some of the ways in which heritage, in particular, is understood (including what it calls 'sticky heritage'), and especially the cultural and social work that it is often seen as able to do. To this end, the article reviews a number of trends in heritage developments, especially the diversification of what it calls 'Museum Europe' (e.g. in the establishment of museums or exhibitions about migration) and the kinds of citizenship that this mobilises. Some of the dilemmas as well as capacities of these developments are discussed. At the same time, the article reviews some of the directions in heritage research and the implications of this, and of 'Museum Europe' itself, for anthropology , ethnology and related disciplines. Preamble A tour guide produced in the US gives the following advice to tourists visiting Europe: "Don't feel like you have to see something just because it is über-famous. Don't make Europe into a giant checklist. Visit what truly interests you, and feel free to skip what doesn't fl oat your boat. If you are going to wear yourself out, at least do it on the stuff that you truly enjoy."
International Conference: National Museums in a Changing Europe
In recent decades, as Europe's populations have become increasingly diverse and mobile, as nations have struggled in difficult economic circumstances and wrestled with increasing integration, and as new nations have sought independence and greater power, and as larger nations have once again revealed their political muscle, so we have seen national histories deployed politically. A sense of Europe as a space of shared histories and cultural similarities is repeatedly challenged by a past that can be re-awakened by rising nationalism, national insecurity, and by religious and ethnic difference. Across Europe, some national museums construct historical narratives that speak of shared global culture while others promote essentialised nationalism, some memorialise a poetic heroic past while others struggle to forget a more troubled one, many celebrate the heights of cultural achievement while others have found educational and tourism potential in the depths of human depravity. National museums implicitly, and sometimes overtly, still engage in acts of competitive cultural representation, attempting to elevate one nation above another. They are also used to perpetuate a war against former enemies and Others. Europe's national museums house some the continent's greatest historical treasures but also some of its most difficult historical spaces.
This book explore current trends in European contemporary museums. Analysing their ongoing evolution triggered by this “age of migrations” and with specific attention to their architecture and exhibition design, the volume collects the preliminary observations ensuing from this survey, complemented by the some paradigmatic examples, and further enriched by interviews and contributions from scholars, curators and museum practitioners. With contributions by Florence Baläen, Michela Bassanelli, Luca Basso Peressut, Joachim Baur, Lorraine Bluche, Marco Borsotti, Mariella Brenna, Anna Chiara Cimoli, Lars De Jaegher, Maria Camilla De Palma, Hugues De Varine, Maria De Waele, Nélia Dias, Simone Eick, Fabienne Galangau Quérat, Sarah Gamaire, Jan Gerchow, Marc-Olivier Gonset, Klas Grinell, Laurence Isnard, Marie-Paule Jungblut, Galitt Kenan, Francesca Lanz, José María Lanzarote Guiral, Vito Lattanzi, Jack Lohman, Carolina Martinelli, Frauke Miera, Elena Montanari, Chantal Mouffe, Judith Pargamin, Giovanni Pinna, Camilla Pagani, Clelia Pozzi, Paolo Rosa, Anna Seiderer. Volume 1 includes: Introduction, Chapter 1: National History Museums, Chapter 2: Natural History Museums, Chapter 3: Ethnographic and World Culture(s) Museums" Legal Notices: This work is provided on line as open access document under the terms of Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported. The work is protected by copyright and/or other applicable law. Any use of the work other than as authorized under this license or copyright law is prohibited. For additional information http://creativecommons.org/. The views expressed here are the sole responsibility of the authors and do not necessarily reflect the views of the European Commission.