European Museum Forum (EMF) Annual Conference and European Museum of the Year Award (EMYA) Ceremony 2018.
Go to www.emya2018.eu for registration and more information.
POLIN Museum of the History of Polish Jews
POLIN Museum of the History of Polish Jews
Bettina Museum of Wooden Shipbuilding, Croatia
Museum Hauskultur Toggenburg, Switzerland
Vucedol Culture Museum, Croatia
Moderator: Marco Biscione, EMYA Judge
National Gallery of Ireland
Azerbaijan Carpet Museum
National Art Gallery of Latvia
Estonian National Museum
Moderator: Hans-Martin Hinz, EMYA Judge
Mary Rose Museum, United Kingdom
Almasy Castle Visitor Centre in Gyula Hungary
St Gallen Nature Museum, Switzerland
Moderator: Linda Mol, EMYA Judge
Museo Egizio di Torino, Italy
National Archaeological Museum of Altamura, Italy
University Museum of Navarra, Spain
The Shipwreck Conservation Centre – a branch of the National Maritime Museum in Gdansk, Poland
Moderator: Christophe Dufour, EMYA Judge
Mathematics Gallery, Science Museum, United Kingdom
Alimentarium Food Museum, Switzerland
Money Museum of the Deutsche Bundesdbank, Germany
Moderator: Metka Fujs, EMYA Judge
Helsinki City Museum, Finland
Centraal Museum Utrecht, the Netherlands
Vapriikki Museum Centre, Finland
Moderator: Marlen Mouliou, EMYA Judge
POLIN Museum of the History of Polish Jews
Chaired by Barbara Kirshenblatt-Gimblett, POLIN Museum
War Childhood Museum, Bosnia & Herzegovina
The Lenin Museum, Finland
Museum of Silesian Uprisings in Świętochłowice, Poland
Hospital in the Rock, Nuclear Bunker Museum, Hungary
Moderator: Dina Sorokina, EMYA Judge
National Coach Museum, Portugal
Riga Transport Museum, Latvia
National Railway Museum, Portugal
Moderator: Kimmo Antila, EMYA Judge
Archaeological Museum of Thebes, Greece
Lascaux IV, International Centre for Cave Art, France
Diachronic Museum of Larissa, Greece
Moderator: Karmele Barandiaran, EMYA Judge
The House of Jevrem Grujić, Serbia
Rainis and Aspazija’s Museum, Latvia
Vassily Polenov Fine Arts Museum National Park, Russia
Moderator: Mark O’Neill, EMYA Judge
Valais Art Museum, Switzerland
Design Museum, United Kingdom
Museo dell’Opera del Duomo, Santa Maria del Fiore, Italy
Moderator: Barbara Kirshenblatt-Gimblett, EMYA Judge
Museum of Russian Impressionism
Carmen Thyssen Museum Andorra
Erimtan Museum of Archaeology and Art, Turkey
EPIC, Irish Emigration Museum, Ireland
Moderator: Mark O’Neill, EMYA Judge
POLIN Museum of the History of Polish Jews
9.00 - 9.20 Keynote address
Moderator Vesna Marjanovic, Trustee, EMF
‘The Council of Europe Core Values in the Heart of European Museums'
Adele Gambaro, Italian MP, Parliamentary Assembly of the Council of Europe, Rapporteur for the Council of Europe Museum Prize 2018
9.20-10.30 Formal Presentation of Certificates
Jose Gameiro, Chair of EMYA 2018 Judging Panel
Jouetta van der Ploeg, Trustee, EMF
Sara Minotti, EMF Administrator
10.30-11.00 COFFEE BREAK
Workshop 1: POLIN Museum of the History of Polish Jews
Professor Barbara Kirshenblatt-Gimblett, Professor Dariusz Stola, Museum Director, Karolina Sakowicz, Head of Public Programs Department, Łucja Koch, Head of Education Department, Katarzyna Krauze, Head of Marketing Department
How to make a museum? What is the story the Museum should tell? How should the Museum tell that story? How to engage the audience? During the workshop we are going to take participants behind the scenes of the inside story of POLIN museum project. Key staff will share their experience how to overcome crucial museum challenges.
What is the story the Museum should tell? How should the Museum tell that story? – Core Exhibition development
How does public-private partnership work? How to work with different stake holders?
How to build consensus and not compromise around the museum? PR activities and role of Museum Council
How to engage the audience into museum activities, especially the museum’s neighbours? How to create a museum program without a museum building?
How to build credibility and wild reach of education offer among school?
Who is the Museum for? (Audience development)
Questions session
Workshop 2: MEG, Ethnographic Museum, Geneva
Boris Wastiau, Director
Since its reopening in 2014, the new MEG has aimed to adopt three main core values – openness, excellence and audacity – which provide a framework that set up an ambitious, yet realistic, range of services, cultural and scientific programs. The MEGs commitment to these values is reflected, among others, in the new standards of hospitality the MEG is setting up, in its scientific research and through the conservation of a public cultural heritage. It is also reflected in a detailed knowledge of the needs of target populations by a policy of solidarity and by the implementation of actions which embrace all visitors and partnerships for the long term. In this workshop, Boris Wastiau, director of the MEG, will discuss how the MEG succeeded the transformation of an idea into reality.
Workshop 3: War Childhood Museum, Sarajevo
Amina Krvavac, Executive Director
The War Childhood Museum (WCM) is the world’s first museum to focus exclusively on wartime childhood. The Museum’s growing collection contains thousands of personal items and accompanying stories and over hundred hours of oral history interviews of survivors narrating their wartime childhood experiences.
The WCM’s workshop will consist of two sessions, as follows: (1) Presentation on creation of the Museum and its rapid development into a multidisciplinary institution (2) Broader discussion on approaches to child-protection policies and practices in museums.
Workshop 4: Muzeum Śląskie in Katowice
Alicja Knast, Director
The Museum’s environment and ways of using it for the institution’s development
Museums are expected to be relevant, up-to-date and meaningful for the society, hence their activities have to be to some extent synchronized with the external world. Caring about collections and being up-to-date with the environment relate to the past and the present respectively, so it is difficult to combine them with coherent activities. The workshop will provide an overview of processes in which museums are, voluntarily or involuntarily, one of the agents as well as methods of using the external environment to carry out its own strategy
Workshop 5: European Solidarity Centre
Basil Kerski, ECS director and Jacek Kołtan, ECS deputy director
The themes of the workshop will be:
Challenge at the Core of the Origin of ECS.
The act of construction of the ECS building was the moment when the idea and the main message finally took shape. It was the intellectual mission impossible that became real/came into existence. This is also the constant challenge of building the remembrance that is both alive and contradictory.
Preserving the Symbol.
Creation of the ECS serves the crucial purpose of rescuing the authentic historic site of the Gdańsk Shipyard, a place deeply relevant not only to the Polish historical remembrance.
European Identity
What are the milestones of our common identity that we, the museums of Europe, refer to? How do we define them? Are we trying to preserve the common foundations to work on them in the future or are we just promoting a closed chapter of history?
Unpopular Experience
The most important challenge of our civilization is to overcome the popular approach that closes us in the local/national narrations and to combine the familiarity of local narrations with wider perspective.
Workshop 6: The Whitworth Art Gallery, Manchester
Esme Ward, formerly the Whitworth, now director of the Manchester Museum
Esme will chart the transformation of the Whitworth, exploring how they embraced their founding mission to be “for the perpetual gratification of the people of Manchester” and how they have changed how galleries do their work, beyond their walls. This will include exploring some of its most bold and challenging work with people across the city during the gallery’s closure, when Whitworth and its collections and staff were taken out into the city. From pop-ups to pub-crawls and residencies, the Whitworth connected to existing audiences and sought new ones. She will explore how to work imaginative and collaboratively with other sectors and how this has formed part of the strategic vision at the Whitworth in difficult economic times (the includes creating the world’s first ever Cultural Park Keeper, interdisciplinary research programmes and a wide range of award-winning Arts and Health and Ageing partnerships and programmes).
In considering what sorts of collaborations could work at the Whitworth and how to create programmes that take creative risks, she will reflect on how work with communities is increasingly central to the organisation’s creative and artistic mission. How might we connect to and develop ambitious work with neighbouring communities experiencing some of the city’s highest levels of deprivation and unemployment? How to be both an international and a local gallery?