MeLa International Conference MeLa Research Field 03 Migrating heritage: networks and collaborations across European museums, libraries and public cultural institutions 3–4 december 2012 glasgow, uk conference programme abstracts biographies 2 MeLa* International Conference

Migrating heritage: networks and collaborations across European museums, libraries and public cultural institutions

Organized by History of Art, School of Culture and Creative Arts, University of Glasgow 3–4 December 2012

Lecture Theatre, Sir Charles Wilson Building University of Glasgow 1 University Gardens G12 8NN Glasgow United Kingdom

1 Acronym MeLa*

Title European Museums in an age of migrations

Short Description The main objective of the MeLa research is to define innovative museum practices that reflect the challenges of the contemporary processes of globalization, mobility and migration. As people, objects, knowledge and information move at increasingly high rates, a greater awareness of an inclusive European identity is needed to facilitate mutual understanding and social cohesion. MeLa aims at empowering museum spaces and practices with the task of building this identity. To succeed in its intentions, MeLa will devise strategies for museums to become agents of European citizenship-building. This process will feed on the enhancement of common heritage, which MeLa fosters as a cardinal bonding factor among Europeans. The expected outcomes of the MeLa actions include the redefinition of role, mission and network of museums, as well as their communication and exhibition strategies. The findings of the research will coalesce into scientific publications and policies for the use of the European Union and museum community

Web site www.mela-project.eu

Duration March 2011–February 2015 (48 months)

Funding scheme Collaborative Project (CP): small and medium scale research project

Grant Agreement 266757

EU contribution 2.699.880,00 €

Consortium 9 partners (5 countries)

Coordinator Politecnico di Milano

Person Responsible Prof. Luca Basso Peressut

EU Officer Mrs. Louisa Anastopoulou

* Mela is a Sanskrit word meaning “gathering” or “to meet.” Today is used for intercultural gatherings, intended as opportunities for community building that can perform a strong socially cohesive function.

2 Contents

1. Welcome to the MeLa Research Field 03 conference...... 5 2. Conference purpose, objectives and committees...... 7 3. General information...... 9 4. Conference programme at a glance...... 11 5. Conference programme with paper abstracts...... 17 6. Speakers’ and session chairs’ biographies...... 51 7. Poster presenters’ biographies...... 67 8. Campus Map – University of Glasgow...... 72 4 Welcome to the MeLa Research Field 03 conference

The School of Culture and Creative Arts at Muséum National d’Histoire Naturelle; Mu- the University of Glasgow is delighted to be seum of the Resistance, Turin; Natural History hosting this important two-day international Museum, London; Politecnico di Milano; Sci- conference on transnational and translocal part- ence Museum, London; Surrey County Coun- nerships, collaborations and policies between cil; University of East Anglia; University of European museums, libraries & public cultural Glasgow; University of Manchester; University institutions around the themes of cultural herit- of Naples; and more. age in the arts and sciences, migration, cultural dialogue, and ICTs. I hope that the ‘Migrating Heritage’ conference will provide you with a platform for connect- The conference is organised within the activities ing people and institutions; learning about the of the Research Field 03, part of MeLa – Euro- promising landscape of cooperation and part- pean Museums in an age of migrations (http:// nerships among museums, libraries and public www.mela-project.eu/), a 4-year collaborative cultural institutions across Europe and beyond; research project funded by the European Com- and exchanging new ideas on how to initiate mission under the 7th Framework Programme, and develop future collaborations. Socio-Economic Sciences and Humanities. Enjoy the conference, and have a great time in An exciting programme has been arranged, with Glasgow. speakers from the Australian National Mari- time Museum; British Library; Cité nationale Perla Innocenti de l’histoire de l’immigration; European Cul- tural Foundation; Europeana; Foundation for Leader of MeLa Research Field 03 the History of Technology, The Netherlands; History of Art Génériques; Glasgow Museums; Glasgow Ref- School of Culture and Creative Arts ugee Asylum and Migration Network; Harvard http://www.gla.ac.uk/schools/cca/ University; London South Bank University; University of Glasgow

5 6 Conference purpose, objectives and committees

ææ about the conference ææ conference goals

The MeLa ‘Migrating Heritage’ conference We hope that the ‘Migrating Heritage’ confer- will explore the cooperation experiences and ence will provide participants with a platform patterns of public cultural institutions (mu- for connecting people and institutions; learning seums, libraries, archives and associations) in about the promising landscape of cooperations Europe and beyond: and partnerships among museums, libraries and ææ How can museums and public cultural insti- public cultural institutions across Europe and tutions define innovative practices, spaces and beyond; and exchanging new ideas on how to policies that reflect the challenges of building initiate and develop future collaborations. an inclusive Europe in an age of migrations? Inputs and reflections from the conference ææ What are the experiences and effects of will contribute to our MeLa Research Field collaboration, partnerships and networks 03 critical analysis on emerging cooperation around the core activities of archiving, pre- patterns and challenges in digital and physical serving and displaying history and artefacts, settings, cross-domain partnerships, cultural and the associated concepts of cultural value identity and cultural dialogue, heritage for the and identity? arts and sciences, migration and mobility. ææ Are more flexible and heterogeneous con- nections possible between public cultural institutions within the European/Mediter- ææ conference organising committee ranean space? ææ How are museums, libraries and other cul- ææ Perla Innocenti, History of Art, CCA, Uni- tural institutions presenting themselves and versity of Glasgow and MeLa RF03 leader interacting with multicultural audiences? ææ Dr John Richards, History of Art, CCA, ææ What guidelines and policies can be sug- University of Glasgow gested to support networking between public ææ Andrew Greg, History of Art, CCA, Uni- cultural institutions? versity of Glasgow

7 ææ consulting partners

ææ Dept. of Human and Social Sciences, “Ori- entale” University of Naples ææ Dept. of Industrial Design, Arts, Commu- nication and Fashion (INDACO) – Politec- nico di Milano ææ Glasgow Refugee Asylum and Migration Network (GRAMNet) ææ Glasgow Museums

Cultural cooperation

Cultural organisation Cooperation policy

Interdisciplinary cooperation Cooperation agreement Cultural Programs of Assessing and values, goals initiatives and monitoring cultural & priorities expenditures impact

Interdisciplinary network Cultural Cooperation network patterns

Transnational Translocal network network Sociology of organisations

Network analysis Key concepts of MeLa Research Field 03

8 General information

Conference Location Posters The conference will take place in the Lecture A0 boards for posters will be available Theatre of the Sir Charles Wilson Building, throughout Monday 3rd and Tuesday 4th De- University of Glasgow, 1 University Gardens. cember in the foyer of the Sir Charles Wilson Building. Poster presenters are encouraged to Name badges put their poster up well before their session Please make sure you wear your name badge on Tuesday 4th December. during the conference and the receptions. Internet access Lunches and refreshments Wireless internet access will be provided for all On Monday 3rd and Tuesday 4th December participants of MeLa Conference 2012. User- there will be buffet lunches, including vegetar- name and password are emailed to registered ian options, in the foyer of the Sir Charles Wil- participants before the conference. son Building. Coffee and tea breaks will be in the foyer during both days. Emergency services For Police, Fire Brigade and Ambulance dial Speaker information 999. MeLa conference 2012 provides a PC (Window 7 with Microsoft Office and PDF viewer) and Health care video projectors. Audio equipment will also be EU citizens are entitled to free or reduced cost available. Please email your presentation before- medical treatment at National Health Service hand to [email protected] to (NHS) hospitals. With the exception of ac- allow the smooth operation of the proceedings. cident and emergency treatment, all non EU- We also recommend to have backups at hand members will be charged for medical treate- during the conference. Talk time is 30 minutes for ment and must have adeguate health insurance invited speakers and 20 minutes for regular speak- when travelling. For the 24-hour NHS hel- ers. Discussion time is at the end of each session. pline call 08454 24 24 24.

9 10 Conference programme at a glance

monday 3 december Translating, sharing and co-creating — Session Chair: Celeste Ianniciello 8.30 – 9.15: Registration 1st day and welcome 11.10 – 11.30: Dr Alexander Badenoch coffee (Foundation for the History of Technology, The Netherlands), Translating objects, transna- 9.15 – 9.30: Opening remarks tionalizing collections: Inventing Europe between Prof. Nick Pearce (Head of School of Culture museums and researchers and Creative Arts, University of Glasgow) 11.30 – 11.50: Laurence Isnard and Fabienne Prof. Luca Basso Peressut (Department of Ar- Galangau (Muséum National d’Histoire Na- chitectural Design, Politecnico di Milano and turelle), The question of repatriation for natural MeLa project coordinator) history museums in Europe: attempt at the shar- Perla Innocenti (History of Art, University of ing of heritage between science and traditional Glasgow and MeLa Research Field 03 Leader) values 9.30 – 10.00: Invited speaker: Prof. Sharon 11.50 – 12.10: Annika Joy (Science Museum MacDonald (Department of Sociology, Univer- London), Examining the journey from consulta- sity of York), Transcultural Heritage and Europe tion to co-creation – involving and evaluating 10.00 – 10.30: Invited speaker: Katherine under-represented audiences in user centred gal- Watson (Director of European Cultural Foun- lery development dation), Remapping Europe – a Remix project: a 12.10 – 12.30: Questions & Discussion case study in international and inter-institutional collaboration and networking 12.30 – 13.30: Lunch 10.30 – 10.50: Questions & Discussion 13.30 – 14.00: Invited speaker: Agnès Arquez 10.50 – 11.10: Coffee break Roth (Directrice réseau et partenariats, Cité na- tionale de l’histoire de l’immigration), La Cité nationale de l’histoire de l’immigration: a central venue and national network. An on-going challenge

11 14.00 – 14.30: Invited speaker: Eleanor Kenny (British Library), Foreign donations and ac- (European Campaign Coordinator), Europe- quisitions suggestions in the British Library col- ana: cultural heritage in the digital age lections: a case of self-promotion or an attempt at 14.30 – 14.50: Questions & Discussion cultural and ideological infiltration? (A Russian case study) Cultural dialogue through objects 16.40 – 17.00: Constance Rinaldo (Harvard — Session Chair: John Richards University), Jane Smith (Natural History 14.50 – 15.10: Aileen Strachan (Glasgow Mu- Museum, London), Moving through time and seums), A Curious case study in creating intercul- culture with Biodiversity: A Global Biodiversity tural dialogue through museum objects Heritage Library 15.10 – 15.30: Domenico Sergi (University 17.00 – 17.20: Questions & Discussion of East Anglia), Using objects as a means to fa- cilitate cultural integration: a case study from the 17.20 – 19.00: Wine reception in the Sainsbury Centre for Visual Arts, University of foyer of the Sir Charles Wilson building East Anglia 15.30 – 15.40: Questions & Discussion tuesday 4 december 15.40 – 16.00: Coffee break 9.00 – 9.30: Registration 2nd day and welcome Archiving immigration, documenting herit- coffee age, promoting identity — Session Chair: Perla Innocenti 9.30 – 10.00: Invited speakers: Prof. Rebecca 16.00 – 16.20: Louisa Zanoun (Génériques), Kay and Prof. Alison Phipps (University of The role of collaboration and partnerships in the Glasgow and convenors of Glasgow Refugee archives of immigration: the experience of Géné- Asylum and Migration Network), Migrating riques in France Art and Sanctuary Storage: Some Questions of 16.20 – 16.40: Dr Ekaterina Rogatchevskaia Display

12 10.00 –10.15: Questions & discussions Identity and migration in distributed and 10.15 – 10.45: Posters lightning preview city museums — Session Chair: Eleonora Lupo 10.45 – 11.10: Coffee break 14.10 – 14.30: Professor Andrew Dewdney (London South Bank University) and Dr Vic- Histories of immigration toria Walsh (Royal College of Art), The distrib- — Session Chair: Aileen Strachan uted Museum and the Crisis of European Repre- 11.10 – 11.30: Kim Tao (Australian National sentational Systems Maritime Museum, Sydney), On their own: tell- 14.30 – 14.50: Dr Francesca Lanz (Politecnico ing child migrant stories in a transnational context di Milano), City museums beyond the museum. 11.30 – 11.50: John Messner (Glasgow Mu- Between local and transnational: networking as a seums), Separate Workings: exploring hidden his- strategy for XXI century city museums tories in a research of the racially based transport 14.50 – 15.10: Guido Vaglio Laurin (Museum systems in South Africa and the display of a South of the Resistance, Deportation, War, Rights African Railways locomotive at the Riverside and Freedom, Turin), ‘Turin Hearth. City and Museum new migrations’. A two-year project in Torino 11.50 – 12.10: Dr Pat Reynolds (Surrey City 15.10 – 15.30: Questions & Discussion Council), Roads less travelled: learning from the Roma Routes project 15.30 – 15.50: Coffee break 12.10 – 12.30: Questions & Discussion Digital and cultural connections 12.30 – 13.30: Lunch — Session Chair: Beatrice Ferrara 15.50 – 16.10: Eleonora Lupo, Lucia Parrino, 13.30 – 14.10: Invited speaker: Don’t Forget Us Sara Radice, Davide Spallazzo and Raffaella – Theatre reportage, with and by Annet Henne- Trocchianesi (Politecnico di Milano), Migra- man (Teatro Nascosto- Hidden Theatre) tions and multiculturalism: a design approach for cultural institutions

13 16.10 -16.30: Dr Frauke Miera (free lance cu- rator), Dr Lorraine Bluche (free lance curator), Polyphony in an urban history museum: The new audio archive of the Kreuzberg Museum as one step on the road to a participatory and inclusive contemporary collection of the city of Berlin 16.30 – 16.50: Dr Celeste Ianniciello (Univer- sity of Naples), Re-collecting and Connecting: Museums, Public Art, and the relocation of Cul- tural Memory 16.50 – 17.10: Questions & Discussion 17.10 – 18.30: Closing reception

14 15 16 Conference programme with paper abstracts

monday 3 december of memory’ or civic ambitions. Through a range of examples, this presentation will consider some of the challenges and also potentials involved in reconfiguring cultural heritage as ‘transnational’ and ‘European’. This will include consideration of ‘Islamic’ heritage as a particular challenge for Europe – having long operated as an ‘Other’ without and within – yet also holding potential as both ‘transnational’ and ‘European’ heritage, and as vital to address in contemporary Europe. 9.30 – 10.00 Invited speaker: Prof. Sharon MacDonald (Department of Sociology, University of York), Transcultural Heritage and Europe.

Heritage has often operated as a cultural form that contributes to the definition of nation-states as distinct, bounded entities. In recent years, however, many cultural institutions – especially museums and also libraries – have begun explor- 10.00 – 10.30 ing the potential of heritage for crossing and Invited speaker: Katherine Watson (Direc- even transcending national boundaries. This has tor of European Cultural Foundation), Re- been undertaken especially, though not only, to mapping Europe – a Remix project: a case study help foster senses of European identity. In do- in international and inter-institutional collabo- ing so, cultural institutions may be able to draw ration and networking. on rich repositories of existing cultural heritage which have been formed as part of other ‘regimes Remapping Europe – a Remix project, is a joint

17 project of the Doc Next Network. It is an in- vestigative artistic project that aims to contrib- 10.30 – 10.50 ute to an inclusive cultural practice and public Questions & Discussion imagery in and of Europe by connecting young creative media-makers who have (im)migrant perspectives to wider European audiences. The 10.50 – 11.10 project’s activities stem from one underlying Coffee break principle: re-mixing of media as a method to re- view, re-investigate and re-consider stereotypical imagery of (im)migrants in European societies Translating, sharing and co-creating and to ‘re-map’ Europe visually, geographically — Session Chair: Celeste Ianniciello and intellectually. The project brings together cultural organiza- tions with community organisations who work 11.10 – 11.30 with migrant and immigrant youth, and ar- Dr Alexander Badenoch (Foundation for the chives. Katherine Watson will present the chal- History of Technology, The Netherlands), lenges and the opportunities presented by in- Translating objects, transnationalizing collec- ternational and inter-institutional collaboration tions: Inventing Europe between museums and and networking through this case study which researchers. is an ongoing ‘work in progress’. In 2013, the ac- tivities of the Remapping Europe project include: Science and technology, as areas of suppos- ateliers, presentation and dissemination of new edly ‘universal’ knowledge, offer prime sites work (online and offline) and a publication. ECF for tracing the transnational interweaving of has been facilitating the development of the Doc modern European history. The circulation of Next Network for the past two years and it has new technologies has seldom been contained been steadily moving from a network to a com- within national boundaries and the processes munity of practice with a common cause. of appropriation and adaptation to new tech-

18 nological innovations might well be seen as a status of ‘collections’ becomes more embattled. form of common European heritage. Indeed, How can national, local, or ‘universal’ collec- technological progress is regularly portrayed tions tell European stories? as a driving force of European integration and These twin challenges of rethinking heritage harmonization, not least by the European Un- and linking collections lie at the heart of In- ion. Closer examination of technological de- venting Europe (www.inventingeurope.eu), an velopments and adaptation also opens up new online virtual exhibition developed connec- opportunities for critical intervention in these tion with the forthcoming six-part book series dominant narratives, by showing processes of Making Europe: Technology and Transformations fragmentation, or unexpected circulation over 1850–2000. Inventing Europe works in part- borders. At the same time, however, techno- nership with a consortium of cultural heritage logical collections very often have their roots institutions throughout Europe, especially sci- in narratives of the nation, or in universal ideas ence and technology museums, but also media of technology that see it as a sphere separate archives, and local and national history muse- from the social. ums. The images, sounds and videos borrowed The age of digital heritage offers new op- from the collection, plus a large and growing portunities – as well as new challenges – for number of linked items allow users to make attempting to cross these boundaries and re- new connections between the stories here think both European history as well as mu- and the rich and growing online collections seum collections. The large push to create a of museums, archives and libraries, including smooth European space of digital heritage – the European digital library Europeana. The itself a project of technological harmonization exhibition is conceived of as a flexible platform – makes connecting objects and collections that allows each set of stakeholders (research- supposedly easier than ever, but also seems to ers, heritage partners and educators) to in- elide the work of adaptation and interpreta- scribe their own forms of knowledge within it tion involved in such projects. As ‘objects’ are and structure their interactions with the other increasingly what comes into circulation, the groups. In so doing, the project is also designed

19 to place collection objects in the centre of new museums in Europe: attempt at the sharing of forms of public dialogue. This paper explores heritage between science and traditional values. these interactions, particularly between cultur- al heritage institutions and academic research- The anthropological collections of the National ers, in the process of creating the exhibition, Museum of Natural History (MNHN) in Paris, and in the narratives that have been its result. is composed of human fossils, skeletons, skulls On the one hand, it will focus on objects, from a large variety of ethnic groups. These col- specifically in their role as boundary objects lections have been for long of great interest to between academic researchers attempting to scientists (anthropologists, anatomists or more build the exhibit’s narrative environment and recently molecular biologists) from all over the between collection holders. It will explore the world in their research work, giving rise to the communicative processes surrounding the ob- recognition of the unity and the diversity of jects, as well as the tensions between objects Mankind. One example is the Maori Heads and narrative that emerge. It will then explore Repatriation from the MNHN, France to the the potential communicative power of collec- Te Papa Museum, New Zealand. tions (and the work of curation). It will look at In the context of the growing question of own- a series of ‘guest curated’ elements, where cura- ership and identity, in January 2012, special cer- tors from participating institutions were asked emonies were held in the presence of members to interpret a series of objects from their own of the Maori community delegates from the Te collection in terms of the transnational remit Papa Museum, New Zealand and researchers of the exhibit. from MNHN. The purpose was to hand over Maori heads brought to Europe in a commer- cial deal in the 19th century. At that time such 11.30 – 11.50 human remains were considered as works of Laurence Isnard and Fabienne Galangau art whereas their humanity was ignored. Dur- (Muséum National d’Histoire Naturelle), ing these ceremonies, the scientists explained The question of repatriation for natural history why, from a scientific point of view, those heads

20 have absolutely to be preserved. DNA studies the case of the Museum of Mankind Renova- on strands of hair or teeth have been carried out tion Program at the MNHN, the museologi- before the beginning of the repatriation process cal and museographical concepts to be put in which enabled some knowledge on the his- place for human remains will have to integrate tory of the migration of different populations the current advances and knowledge in science. throughout Asia to be discovered. Researchers But they will also have to deal with respecting insisted on the fact that with the progress of the traditional values and beliefs of the different science, our knowledge of mankind in general, ethnic communities. The above example could and more specifically about the origin of those illustrate, for the future, the starting point of the populations will benefit from further studies concept of sharing heritage between the worlds on those human remains. Thus, they asked the of modern science and traditional values. Over- Maori community to conserve these human re- all, this idea will force us to reflect on museum mains, considered as scientific heritage, instead practices to be developed in XXI century Eu- of giving them a traditional burial by cremation. rope, confronted with the subject of repatriation. It was a great opportunity for the scientific community of the museum and the Maori rep- resentatives, to get each other’s points of view: 11.30 – 11.50 on the one hand the ongoing process of the re- Annika Joy (Science Museum London), search and on the other hand, the cultural values Examining the journey from consultation to and traditions of different ethnic groups. This co-creation – involving and evaluating under- example typically illustrates the problem that represented audiences in user centred gallery many scientific museums in Europe will have development. to face in the more or less near future during their renovation programs. Much of the items The Science Museum, London has an ambition from the anthropological and prehistory collec- to create a step-change regarding how we work tions in those museums date back to colonial with a wide range of audiences in the develop- times and to the great exploration voyages. In ment and delivery of galleries and associated

21 cultural offers. The key issue being discussed in ate audience-led events, the delivery of tem- this paper is the way the Museum is developing porary interventions in permanent galleries and implementing practice and evaluating the such as a collaboration with young people to impact of collaboration with under-represented create a case in the award-winning Who am I? audiences in gallery development. gallery, the partnership with Age UK’s Open- The museum has a long track record of invit- ing Doors project for older LGBT adults to ing contributions through consultation with explore the social context of Alan Turing’s audience groups when developing new gal- work for the Codebreaker exhibition and the leries, learning resources and digital media. bold decision to entirely co-create Making In facilitating more active engagement, the Modern Communications, a large permanent museum is building on this practice and on gallery, in partnership with a diverse range the museological process of co-creation to of groups. This paper defines how audience develop a model for national museums to research methodologies are used to capture involve under-represented audiences in the the participation processes, impacts and out- display and interpretation of its collections. It comes on all the partners involved. While aims for audiences to have a clear and genuine much research to date captures the experience voice in the museum, for new stories, perspec- of the participants (in this case, the under- tives and content to be uncovered and for the represented groups), this paper supports those creation of a deeper relationship between the findings with a methodology to understand visitor and the museum that enriches every- the impact on the public of experiencing a one’s experience. Using past and current ex- more inclusive science historiography. Is the amples the paper explores the journey from wider visitor experience enhanced when the consultation with non-attenders to highly museum engages with and displays a diversity engaged participation projects. These include of narratives? This paper explores the experi- the dialogue approach used during consulta- ence of the Science Museum and sets it in tion with the Black African and Caribbean the wider context of evaluating collaboration community group in the Dana Centre to cre- with audience groups.

22 to immigration history and memory. Already in 12.30 – 13.30 2001 Driss El Yazami and Rémi Schwartz rec- Lunch ommend the creation of a national centre linked to a network of partnerships. In 2003 a govern- ment decision launches prefiguration of the es- tablishment presided by Jacques Toubon – thus having the French République recognise the di- versity in the populating of France. From 2003 to 2007, different phases in the construction of the project allowed to set the establishment in its pedagogical, scientific, cultural, and citizen- ship objectives. At the end of the year 2006 11.30 – 11.50 the creation of the public establishment settles Invited speaker: Agnès Arquez Roth (Di- the collaborative process of the project through rectrice réseau et partenariats, Cité na- partnerships with civil society. One mission of tionale de l’histoire de l’immigration), La the Cité among others is ‘to develop and coor- Cité nationale de l’histoire de l’immigration: dinate a network of partners pursuing similar a central venue and national network. An on- goals – be it with associations, local authorities, going challenge. trade unions, companies or scientific and cul- tural institutions – all over France’. From 2007 Both the creation and the realisation of this in- to 2010, the Cité tries to give visibility to both novative national institution – unique in Europe the highly symbolic chosen venue the Palais de – need constantly to be rethought in time. la Porte Dorée and the networks partners in Paris After promoting scientific research, original in- and the regions. terdisciplinary approaches, artistic and cultural Since the first national forum for the net- initiatives, associations and scholars have since working partners on January 13th 2007, une- 1992 been fierce defenders of a venue dedicated qual forms in realisation of this ambition have

23 put in question the very meaning of the pro- in documents, photographs, books, paintings, ject and the necessary continuity of the origi- films and many other objects, this heritage is nal financial and political support. On which held by museums, archives, libraries and galler- concept should the network rely on? What ies. Throughout history, objects of cultural her- principles of articulation should be defined? itage have helped us develop an understanding The Cité attempts to find a balance between of events that happen in the world around us. knowledge of immigration history, recogni- Europeana is a digital repository of objects of tion of both the migrants’ and the welcom- European cultural heritage. It has aggregated ing society’s memory, and their relationship 25 millions of digital objects from thousands to the highly symbolic Palais de la porte Dorée. of cultural institutions across the continent. In collaboration with a vast partner network, Europeana has built an open trusted source of European heritage over the past years. Through standardization of metadata, institutional ob- jects can be made accessible and inter-search- able for everyone. In order to further promote accessibility, we facilitate knowledge transfer, innovation and advocacy in the cultural sector. We distribute our data is distributed through 14.00 – 14.30 various channels and take part in projects Invited speaker: Eleanor Kenny (European where users engage in their heritage in new Campaign Co-ordinator, Europeana), Euro- and participative ways. peana: cultural heritage in the digital age. By bringing objects from all European coun- tries together, boundaries between domains, Europe’s heritage of political, scientific, reli- institutions and countries disappear. Objects gious and artistic culture has shaped our per- from several countries and institutions can be spective on our past and present. Recorded viewed and compared. Researchers can access

24 manuscripts from several archives at the same by sharing objects in their personal social me- time; the general public can view photos and dia pages, websites and applications. By ‘users’, documents from different countries in just a we do not only refer to individuals; this also few mouse clicks. includes cultural institutions, service develop- Accessibility also means that users can make ers and other organizations. For example, mu- new connections between objects as they seums are able to give their audiences access to choose. They can explore information and cre- (subsets of ) the Europeana database on their ate their own interpretations and personal col- own websites and portals. This way, they ex- lections. When exploring the topic of migra- panding their physical collections to a larger tion, people can access materials from various virtual one and expand their physical visitor archives in different countries. They can look base to a virtual audience. at images and documents from the cities and In its aim to level boundaries, Europeana is countries that were left behind. They can learn also developing partnerships outside Europe. about the travels that were made and find per- In October 2011, the Digital Public Library of sonal stories about how people were coping America (DPLA) and Europeana announced in the first years in a new country. They can their collaboration. Their technical structures search for information about their (or their are designed to enable interoperability of neighbors) ancestors and how their lives were their services. By this combined effort on two before they migrated. continents, Europeana and the DPLA hope In addition to what people can learn from to promote the creation of a global network school books or museum exhibitions, they can with partners from around the world. Another find more information to feed their own inter- outcome of this collaboration will be a virtual pretations of migration or gain more knowl- exhibition about the migration of Europeans edge about their personal history. to America. The DPLA and Europeana will In Europeana’s interpretation of access, users demonstrate the potential of their combined can interact with information as well: they are collections by showing materials about the able to tag and comment, and re-use metadata journey from the Old World to the New. This

25 pilot project will include text and images about Curious is part of the Scottish Project. The Scot- the experience of the uprooted as they aban- tish Project has been funded by Legacy Trust doned their countries to seek a new life thou- UK, creating a lasting impact from the Lon- sands of miles across a treacherous ocean. don 2012 Olympic and Paralympic Games by funding ideas and local talent to inspire creativ- ity across the UK and by the National Lottery 14.30 – 14.50 through Creative Scotland. Questions & Discussion We are coming to the end of the three year pro- ject; we are documenting & reflecting on our ex- tensive learning. This paper will look at the var- Cultural dialogue through objects ied ways we’ve used the museum collections to — Session Chair:John Richards prompt intercultural dialogue and to learn from, about, and with, the communities with whom we’ve worked. This paper will also examine the 14.50 – 15.10 ways in which the Curious project has led us to Aileen Strachan (Glasgow Museums), A Cu- question our practice, from our approach to col- rious case study in creating intercultural dia- laborative work to our gathering and archiving logue through museum objects. of community responses to objects. We’ve ex- perimented with new ways of working across all Curious is an innovative collaborative Glasgow strands of the project: Museums project creating intercultural dialogue. The project supports and celebrates the 2012 ææ Exhibition Strand: An eighteen month long London Olympic Games, and prepares for the community-led exhibition in St Mungo’s Mu- 2014 Glasgow Commonwealth Games, by cre- seum. Nearly one hundred people (individuals ating intercultural dialogue and a legacy of in- & community groups) selected and interpreted creased understanding of each other, our city and thirty objects for the exhibition. Some partici- our museum collections. pants simply contributed interpretive content,

26 through artwork and drama as well as text, film The programme has been attended by a wide and audio interpretation. However, many took range of adult learners from social groups to ownership of displays, choosing objects, defin- arts workers, corporate staff to community ing interpretive methods and creating display workers, students to teachers. content. This has created a rich and unexpected ææ Schools programme: We have worked with selection of objects, lively and varied interpreta- a number of schools to equip and support tion and a diversity of voices and perspectives in teachers in object-based learning across the the exhibition. It has ensured the exhibition is curriculum, in line with the Curriculum for a rich source for further intercultural dialogue, Excellence.We’ve provided a range of events & including through the learning programme. volunteering opportunities. A diverse group of ææ Learning Programme Strand: Through re- volunteers developed intercultural events, and search and a programme of action research, are producing an exhibition reflecting on their including with students learning English, learning and experiences. We have trained an- we developed a participatory and facilitative other group of volunteers to facilitate tours in learning programme focused on Cultural their own languages including Farsi, Polish Awareness and strategies for intercultural and Russian. dialogue. The day’s programme is designed to promote self-reflection, exploration, dis- covery, and practice. It includes activities and 15.10 – 15.30 discussion which encourage consideration of: Domenico Sergi (University of East An- individual culture and responses to culture; glia), Using objects as a means to facilitate using interpretive skills to explore various cultural integration: a case study from the cultures through museum objects; barriers Sainsbury Centre for Visual Arts, University to intercultural dialogue; assumptions, forms of East Anglia. of isolation and ignorance; objects as a com- munication tool and inspiration for dialogue; This paper assesses the potential of museums’ creating platforms for intercultural dialogue. engagement with refugees, drawing on the

27 debates around refugees’ integration taking I apply the idea of museums as free-choice place in forced migration studies (see ‘indi- learning settings (Silverman, 2010; Ka- cators of integration framework’ in Ager and vanagh, 2000) to discuss how museums can Strang (2004); see also ‘middle level theory’ support the provision of new knowledge and in Strang and Ager, 2010 and Ager and skills (Newman and McLean, 2005; Wavell Strang, 2008). et al., 2002). More particularly, the case study The case study discussed here is part of an explores how objects can be used as means ongoing PhD project researching the social, to stimulate subjective narratives around the personal and psychosocial benefits refugees process of resettlement, contributing to gain might derive from museum-based activities. cultural and linguistic skills. The study presented is particularly concerned Data collected come from a range of qualita- with the way museums in Britain can encour- tive research methodologies, including ethno- age refugees’ integration, eliminating barriers graphic participant observation of workshops particularly stemming from lack of linguistic and the analysis of creative responses to col- and cultural competences (Ager and Strang, lections. As a consequence of their involve- 2008:185). ment in museum-based activities, participants It analyses the work done in the last two reported relevant progress in their language years by the Sainsbury Centre for Visual Arts and cultural competences. with local refugees from DCR (Democratic Republic of Congo), resettled in Norwich as part of the Gateway Protection Programme 15.30 – 15.40 (GPP). GPP is a refugee resettlement scheme Questions & Discussion operated by the UK Border Agency in part- nership with UNHCR (United Nations High Commissioner for Refugees). Other disper- 15.40 – 16.00 sal areas in the UK include Hull, Bolton and Coffee break Greater Manchester.

28 Génériques’s experience in working with Archiving immigration, documenting herit- partners as diverse as museums, archive cen- age, promoting identity tres, NGOs, libraries universities and state — Session Chair: Perla Innocenti administrations (central and local) has led, among other things, to the creation of the Cité nationale de l’histoire de l’immigration 16.00 – 16.20 in Paris, the publication of books and jour- Louisa Zanoun (Génériques), The role of col- nals and three exhibitions: ‘France des laboration and partnerships in the archives of im- étrangers, France des libertés’ (1989) pre- migration: the experience of Génériques in France. sented in museums throughout France; ‘France-Allemagne, au miroir de l’autre’ in Situated at the crossroads of the institution- partnership with the Goethe Institute (1995) al, associative and academic spheres, since its presented in Germany & ‘Générations, un creation in 1987 the association Génériques siècle d’histoire culturelle des Maghrébins has organised, developed and joined several en France’ (2009) presented at the Cité na- innovative regional, national and interna- tionale de l’histoire de l’immigration and a tional networks. Génériques was founded by museum in Lyon. Additionally, this experi- militant activists (journalists, academics and ence has resulted in the preservation and other professionals) who believed in the need promotion of immigrants’ private archives to preserve the memory and the cultural herit- now housed in public institutions such as age of immigrants in France. Whether it be at the Archives nationales, various Archives the local, national or international levels, and départementales and the Cité nationale de between different partners such as public insti- l’histoire de l’immigration. tutions, civil society and the state, Génériques’s At the source of Génériques’s collaborative experience is a fitting example of the workings approach was its founders’ determination to and benefits of collaboration and the mutuali- preserve the private sources of immigration sation of knowledge and best practices. in France. Held by individuals, associations

29 and non-governmental organisations, those sources, which included documents, posters, 16.20 – 16.40 periodicals, pictures, music sheets etc., were Dr Ekaterina Rogatchevskaia (British Li- categorised and catalogued by Génériques brary), Foreign donations and acquisitions before being deposited in public archive cen- suggestions in the British Library collections: tres. Once deposited in public institutions, a case of self-promotion or an attempt at cul- they became archives that offered research- tural and ideological infiltration? (A Russian ers a new insight on immigrants’ activities in case study). France’s social, cultural and police life. Their promotion – also the product of collaborative From its early days the British Museum Li- work between Génériques and its partners – brary gained a reputation for being a public led in 2009 to the creation of Odysseo, the institution that not only supported academic first online resource catalogue on archives research in many foreign languages, but also pertaining to the history and memory of im- encouraged local communities of foreign na- migration in France. tionals to participate in its collection devel- By focusing on Génériques’s collaborative opment. Such attitude was first advocated by model, this paper will look at how over the Sir Antony Panizzi, an Italian émigré, who past 30 years the association’s partnerships served in the British Museum as Keeper of at the local, national and international levels Printed Books (1837–56) and Principal Li- have allowed for the memory and cultural brarian (1856–66). Among prominent Rus- heritage of immigration in France to have a sian donors who presented books to the place in public institutions. In doing so, this Library were Count Nikolai Rumyantsev, paper aims at sharing the association’s experi- Prince Alexei Lobanov-Rostovsky, as well as the political emigrants Alexander Herzen ences in promoting the history and cultural th heritage of immigration in France through and Vladimir Lenin. At the end of the 19 the use of networks, partnerships and col- century the Russian émigré community in laborative work. London played an active part in suggesting

30 material for the Russian collections. Prince background, this research focuses on the con- Petr Kropotkin and Vladimir Burtsev even temporary period. Donations and offers of wrote lengthy letters to the Museum authori- donations still come frequently to the British ties, complete with desiderata lists, and Bund Library, and a large number of them present (the General Union of Jewish Workers) sent interesting case studies for identity and mem- to the Library its publications as legal deposit ory research. Donations can be grouped into copies, although they were not even produced several categories, such as donations from in the UK. The Russian readers at the Library authors or original owners, when the act of often referred to the Russian collections as donation represents a certain cultural or po- a unit, which didn’t exist as such. All these litical statement; or by heirs who don’t see any facts put together make me suggest that the practical value in items, when the act of dona- Russians who lived in Britain and used the tion creates for them a certain memory point, British Museum Library ‘adopted’ the Rus- etc. Many years of experience in working sian collections and were happy to share with with donors and negotiating donations sug- the British Museum staff their knowledge of gest that this activity is core for a public in- Russian culture and the book market, as well stitution, such as the British Library, and can as their passion for the collections and re- reveal interesting facts and commonalities in sponsibilities for its growth. the need and desire to donate something to After the October Revolution the links be- a public institution. Further examination of tween both old and new Russian émigrés in suggestions to acquire material in other ways, London and the British Museum ceased to such as purchase or exchange, coming from exist, and reappeared only in the late pere- readers and non-readers, can lay the grounds stroika era. However, donations as attempts for research of the role played by a large pub- at ideological infiltration were fairly common, lic institution when serving the needs of local e.g., a ‘large sack of Bolshevik literature’ in communities in search of their identity in a English received from Helsinki in 1921. foreign environment. Having this historical perspective in the

31 particularly taxonomists. Taxonomists need ac- 16.40 – 17.00 cess to literature spanning all publication years Constance Rinaldo (Harvard University), (even prior to 1700) and geographic locations. Jane Smith (Natural History Museum, Lon- They rely equally on older literature and cur- don), Moving through time and culture with rent literature. Until recently, gathering this lit- Biodiversity: A Global Biodiversity Heritage erature, along with biological specimens, could Library. take a lifetime of travel to different Libraries and Museums. Now through BHL, the legacy The Biodiversity Heritage Library (BHL) literature is open and available to all. Added http://www.biodiversitylibrary.org/ is a partner- value is provided through applications. For in- ship of natural history, research and botanical stance, when retrieving a page in the BHL, all libraries that cooperate to digitise and make the taxonomic names on that page are extracted accessible the legacy biodiversity literature held from the OCR text and exposed for review. in their collections. This literature is freely avail- This is known as ‘Taxonomic intelligence’ and able for open access and responsible use as part is based on work done at the Marine Biological of a global ‘biodiversity commons’. Through the Laboratory/Woods Hole Oceanographic Insti- application of multiple strategies and tools, the tute. Moreover, BHL has a much wider reach BHL has created an effective and collaborative, and is increasingly relevant for arts, humanities multi-institutional virtual organization. Largely and social sciences researchers. driven from the ground up, and without any BHL is now a mature seven years old research institutional mandate, the BHL has success- resource with approximately 40 million pages fully and organically fostered an organisational (and growing) of biodiversity literature and a model that has encouraged innovation, user en- user base of 554,000 unique visitors. Feedback gagement, and regional networks: BHLEurope, and direct communication with users is a key BHL-Australia, BHL-China, BHL-Egypt, element to ensure the continued relevance of BHL SciELO, together form BHL Global. BHL and the provision of dynamic collections Originally, the BHL was built for scientists, and services.

32 New audiences are reached deliberately through data and support tools to be produced, long social media, initiatives such as iTunesU, con- term digital storage solutions to be achieved ferences, and projects such as ‘The Art of Life’ and the sharing and cost reduction of scanning which will liberate natural history illustrations operations and best practices. for use by all. BHL is closely linked with other major natural and cultural heritage initiatives: it is the foundational literature component of 17.00 – 17.20 the Encyclopedia of Life (EOL) and BHL Questions & Discussion content is served through the cultural herit- age portal Europeana. Additionally, BHL has added a series of iTunes U collections, such as 17.20 – 19.00 the ‘Pillars of Biodiversity’. Wine reception in the foyer of the Sir Charles BHL operates on a mixed funding model with Wilson building direct support by BHL partners and single and jointly awarded grants. Examples of this ap- proach include the JISC/NEH funded Dar- win’s Library Project, NEH funded ‘The Art of Life’, and the Institute of Museum and Library Services funded Field Notebooks Project. Working in partnership has enabled the partici- pating organisations to bring together and link their collections in ways that provide a more complete research resource and negotiate with publishers and other rights holders to include material still in copyright. Collaboration on standards, best practice and infrastructure solu- tions has enabled higher quality images, meta-

33 tuesday 4 december ence since December 2009, the network en- gages with a range of projects and partnerships which are led by issues identified in the field and 9.00 – 9.30 which have engaged with a range of arts based Registration 2nd day and welcome coffee methodologies and questions. In this paper Re- becca Kay considers the TREEC programme and the role played by art in translating Rus- sian and Eastern European Cultures into forms which can communicate with a range of differ- ent groups, from children to the wider public. She also reflects on the reported use of art as a medium for intercultural communication in research she undertook on placement with the Convention of Scottish Local Authorities 9.30 – 10.00 (COSLA). Invited speakers: Prof. Rebecca Kay and Alison Phipps will then move the focus to the Prof. Alison Phipps (University of Glasgow home to examine questions of sanctuary and and convenors of Glasgow Refugee Asylum display within the home, the replication of dis- and Migration Network), Migrating Art play practices which also occur in the public and Sanctuary Storage: Some Questions of space and their relation to a range of curious mi- Display. grating objects. Her autoethnographic approach is drawn from her work offering hospitality to Glasgow University’s Refugee, Asylum and Mi- destitute asylum seekers and a range of travelers gration Network (GRAMNET) aims to bring over ten years, and this offers a first approach together researchers and practitioners, NGOs to considering the modes of display negotiated and policy makers working with migrants, refu- temporarily by visitors and by through the rela- gees and asylum seekers in Scotland. In exist- tionships with the family home. 34 10.00 – 10.15 10.30 – 10.45 Questions & discussions Questions & discussions

10.00 – 10.30 10.45 – 11.10 Posters lightning preview. Coffee break

ææ Dr Jamie Allen, David Gauthier, Jacob Bak, Visualising Interdisciplinary Research: Fusing Quan- Histories of immigration titative and Qualitative Data for Museum Research — Session Chair: Aileen Strachan ææ Michele Bellelli, Federico Zannoni, ‘Reg- giane’ factory and new immigrants: memory and local history to strengthen integration 11.10 – 11.30 ææ Dr Rita Capurro, The intercultural dialogue as Kim Tao (Australian National Maritime mission of a museum: the ‘Officina multimediale di Museum, Sydney), On their own: telling child Papa Giovanni XXII’ in Sotto il Monte (BG), Italy migrant stories in a transnational context. ææ Riccarda Hesseling, Marija Jaukovic, Moa Johansson, ‘There are three of us now, we can In 2010 the Australian National Maritime Mu- start a cell’. Social inclusion in city museums seum (ANMM) collaborated with National ææ Jacopo Leveratto, The Library and Museum Museums Liverpool UK (NML) to develop Hybridization: Ultimate Spatial Forms of Insti- the travelling exhibition On their own – Britain’s tutional Collaboration in the process of Identity child migrants. This transnational collaboration Representation provided a unique opportunity to explore local ææ Sandra Vacca, Project Blickwinkel: rediscover- histories within a global framework. On their ing, reinventing and reinterpreting collections at own profiles a group who were an invisible part the Kölnisches Stadtmuseum (Cologne, Germany) of Commonwealth history for decades. They

35 were the lost children of the empire – the more to develop associated artistic responses, public than 100,000 British children sent to Canada, programs and web content which complement Australia, Zimbabwe and New Zealand be- the themes of the exhibition whilst further inter- tween 1869 and 1967 through child migration rogating this complex subject. schemes. It was believed that they would have There has been a remarkably positive response a better life working in the clean expanses of to the exhibition, both through the visitor com- the British Empire, where they were a source ments and our online message board. They have of much-needed labour. While some child mi- highlighted the enticing potential for museums, grants succeeded in creating new futures, most the internet and new media to reunite families suffered lonely, brutal childhoods. While this and friends and create a sense of community contested subject has been examined in books among those who often suffered alone. For ex- and films over the past two decades, no muse- ample, through the exhibition and website, we ums have considered the myriad of schemes, were able to reconnect two siblings who were their motivations, the sending organisations and sent to Australia after World War II; a Scottish receiving countries, or the conflicting experienc- woman and French woman who had spent their es of child migrants, in an international frame- childhoods together in an orphanage in Glas- work. The ANMM and NML collaboration gow; and an Australian man and American man specifically aimed to tell the compelling story of who had sheltered together as children during child migration within its global and historical the Blitz. These were wonderful, but unexpected, context, and to reach audiences in both Australia outcomes of the exhibition, which have shown and the UK. But the exhibition and accompany- both museums the value of telling personal mi- ing web program has had a much broader im- gration stories and presenting living history. This pact – conceptually and geographically – than paper reflects on the power of personal stories to first anticipated. As On their own tours around engage audiences and examines the challenges Australia, the exhibition itself has grown and of representing contested migrant histories and evolved, befitting the living history approach we memories in museums. What is the value and have taken. We have partnered with local venues impact of presenting marginalised histories for

36 both museums and audiences? How do we make Glasgow’s heavy engineering global legacy. sense of a major international migration move- The early proposals for displays intended for ment and make it relevant and accessible to our this locomotive looked at its construction, ex- visitors? What is the value of transnational col- port, and life in South Africa. But what they laboration for exploring migrant heritage from did not include is an examination of the role the perspective of sending and receiving coun- of the racially based politics and industrial tries? And what role can the internet and new laws on those who operated and used the rail- technology play in helping to tell these stories? ways in South Africa. In fact, this aspect is hardly ever discussed in museum settings or academic material on the subject. The focus of 11.30 – 11.50 almost all histories on the railways in South John Messner (Glasgow Museums), Separate Africa is on the technical accomplishments of Workings: exploring hidden histories in a re- the men who built and operated the railways search of the racially based transport systems in and locomotives. The impact of racial laws South Africa and the display of a South African on the actual people who used the transport Railways locomotive at the Riverside Museum. system was deemed unimportant to the topic or hidden from public view as irrelevant. Yet Traditionally some things are not found in everyone on the railways, from the passenger, museum displays. Some histories are hidden to station clerk, locomotive fireman and engi- or not deemed worthy of display. Yet these neers were affected by these laws. histories are important, and should be exam- This hidden history was one that the team for ined by museum professionals. the Riverside Museum Project then identified In 2007 Glasgow Museums purchased a Glas- as something that should be researched and gow built steam locomotive that had been displayed. This was not just to be a celebration exported to South Africa in 1945. This loco- of mechanical achievement, but an explora- motive would become one of the centre pieces tion of how this one object sat within the of the new Riverside Museum, highlighting wider context of the history of a group of peo-

37 ple, through politics, industrial growth and less travelled: learning from the Roma Routes discrimination. In fact the railways in South project Africa were a nationalised industry and were used as a tool in both the pre-Apartheid and This paper presents a case study of a project Apartheid eras to separate the racial groups which permitted the exploration, in practice, of within the country while promoting the ide- many of the themes of the MeLa project. Roma als of the National Party. So the history of Routes was an opportunity for Roma (includ- railways is intertwined with the racial policies ing those who identify as Gypsy) communities of South Africa. Yet this aspect of the history who are the descendents of migrant populations of the railways does not feature in many, if who have been distinct within other European any, display associated with South African populations since the Middle Ages. It was also Railways locomotives in UK museums. This an opportunity for public institutions to en- history has not been deemed worthy, and thus gage with those communities, as a network, in has stayed hidden from visitors. a transnational setting. This paper will focus on how museum profes- Roma Routes was a two-year project, designed to sionals can and should tackle sensitive topics create sustainable networks of institutions and within historical themes. It will lay out how in- communities, and to provide a platform for pro- formation was collected from historical mate- motion of Roma cultural heritage (2010–2012). rial that generally avoided the subject and how The project was funded by the European Union’s this was then used to create a display within Culture programme and aimed at the submis- the Riverside Museum. It will also look at sion of a formal application to the Council of some of the reactions that have been recorded Europe for the Roma Route of Culture and to the display, both positive and negative. Heritage. The partnership – between Surrey Heritage (Surrey County Council, UK), the Documentation and Cultural Centre of German 11.50 – 12.10 Sinti and Roma (Heidelberg, Germany, the Byz- Dr Pat Reynolds (Surrey City Council), Roads antine & Christian Museum, (Athens, Greece),

38 The Slovene Ethnographic Museum (Ljubljana, with more or less success. It asks what can be Slovenia) and the Asociatia Nationala de Turism learned from Roma Routes that might inform Rural, Ecologic si Cultural (Maramures, Roma- future collaboration – between institutions, and nia) – brought together five very different insti- between communities – particularly when own- tutions, with different collections (or none), with ership of the narrative and process by a vilified different funding, and different relationships community is a key component. with the Roma communities. The paper considers the tensions inherent in the project. One group of tensions came from 12.10 – 12.30 the focus of EU Culture Programme funding Questions & Discussion on European integration, when the participants were exploring identities constructed and enact- ed very differently in different parts of Europe, 12.30 – 13.30 and identities that had been held separate for Lunch centuries. Another group arose from project aim to use the skills of heritage professionals to af- firm positive images and encourage non-Roma to challenge stereotypes which (at least appeared at times to) privilege non-Roma participation and opinions. A third group arose from the dif- ferent assumptions and processes operating in the different organizations. These related to mat- ters as abstract as the nature of heritage, to those as concrete as accounting regulations. 13.30 – 14.10 This paper explores the various strategies which Don’t Forget Us – Theatre reportage, were employed during the project to address with and by Annet Henneman (Teatro Nas- the issues which resulted from these tensions – costo – Hidden Theatre)

39 Annet Henneman performs songs from her practice in terms of a crisis of representational work and travel in Iraq, Kurdistan, Palestine, systems. Systems of representation embrace Iran. Each accompanied by true stories and a complex assemblage of the production of photos of the people and places to whom and knowledge, institutions, modes of communi- which they belong. This is a bold and extraor- cation, subject positions and the conduct of dinary contribution to international reporting politics. Such an assemblage, what might be in the defence of human rights and the pro- termed the pre‐eminent system of European motion of cross-cultural understanding and representation, gathered its momentum as a collaboration. formation of people, objects and ideas through the period of the Enlightenment and was con- tinuously developed and widely disseminated Identity and migration in distributed and city through European colonialism achieving its museums most ‘universal’ expression in the period of — Session Chair: Eleonora Lupo American cultural global dominance. The pa- per argues that the historic Eurocentric system of representation is now under extreme pres- 14.10 – 14.30 sure from the twin movements of data in virtu- Professor Andrew Dewdney (London South al networks and of people across national bor- Bank University) and Dr Victoria Walsh ders. To understand cultural migration without (Royal College of Art), The distributed Mu- at the same time understanding the migration seum and the Crisis of European Representa- of data is to limit the scope of analysis of how tional Systems. globalisation is impacting upon museums. The paper will touch upon how this argu- This paper argues that in order to understand ment emerges from the findings of a three year the impact of global forms of migration upon AHRC funded collaborative research project European cultural institutions and forms of ‘Tate Encounters: Britishness and Visual Cul- authority it is necessary to frame museum tures’ which ran at Tate Britain from 2007‐10

40 and was centred on understanding how audi- experience embrace and navigate the art mu- ences from diasporic backgrounds experience seum through porous networks which bi‐pass the art museum. The project pursued this re- existing forms of cultural authority in the prac- search through three strands: the impact of tices of the museum and suggest the importance New Labour’s cultural diversity policy on cura- of the transmedial to the future of the museum. torial practice and audiences; the role of digital The paper concludes by arguing for a collabora- media in the experience of the museum; and the tive and transdisciplinary approach in defining a relations between the museum encounter and new field of post‐critical enquiry, based upon a the visual cultures experience of the everyday. In radical empiricism as presented in the forthcom- practice, this involved an organizational study of ing publication of the project Post‐critical Muse- the agency of audience within the museum and ology (Routledge Nov 2012). It will reiterate that an ethnography of diasporic student encounters understanding how the art museum remains with it. The paper will highlight the specific key caught up in representational politics, which findings of the research which demonstrated suppress difference and continue to separate cu- that cultural diversity policy reproduced unin- ratorial and critical knowledge practices, is a first tended racialised thinking; that targeting mi- step in opening up new relationships of knowl- nority audiences reproduced outmoded fixed edge between audiences and the art museum. representative identity positions; and that for the art museum, cultural diversity was managed as a risk to the practices of collection. 14.30 – 14.50 In demonstrating how the increasing lines of Dr Francesca Lanz (Politecnico di Milano), tension within the museum as exhausted nar- City museums beyond the museum. Between lo- ratives of nationhood, Modernism and rep- cal and transnational: networking as a strategy resentation meet the expanded visual field of for XXI century city museums. the everyday, mediated through the processes of digitization and globalisation, the paper will A growing attention is recently focusing on discuss how museum visitors with transcultural city museums, a phenomenon this attested by

41 the new lively debate developed on the subject emerging social issues and frictions. Within this as well as by significant economic investments. complex scenario, city museums can play a sig- In the last ten years a number of city museums nificant role as cultural tools able to influence were inaugurated across Europe and overseas, and drive these changes. On one hand, they are including both new projects and renovations considered an effective ‘urban marketing tool’, of historical city museums. This museum type a kind of tourists portal for city promotion. On is actually undergoing substantial transforma- the other hand, they are also asked to go beyond tions, shifting its focus from urban history to their traditional role of repository of city histo- the contemporary city, changing its identity, and ry: they are asked to involve themselves in urban modifying its communication strategies. and social issues, and concur to the creation of a The paper proceeds from the assumption that pluralistic and intercultural civic community by this situation can be traced back to the current fostering dialogue within different urban com- dynamics that affect many contemporary cit- munities. City museums indeed are in an excel- ies, and that ensue from the new economic and lent position to perform these new roles—and cultural opportunities offered by globalization, maybe many more. However, in order to fulfil from the fluid mobility occurring at the Euro- these tasks, they have to rethink themselves pean and world-wide level, and from the ongo- deeply and look for new ways to establish a re- ing political, economic and cultural processes of lationship with the city and its urban commu- creation of the European Union. An extensive nities. While performing this rethinking pro- literature and updated data have already pointed cess, city museums are therefore experimenting out how, after all, cities are deeply affected by with new strategies: they are promoting inter- such changes. Today many major European cultural programmes; redesigning their exhibi- cities are thus assuming new crucial roles in a tions; reorganizing their collections; broaden- very competitive context and thus reconfigur- ing their activities; rethinking their narratives ing their cultural and political agenda according and communication approaches. In this sense to a renewed cultural and economic impulse; at new forms of networking are investigated as the same time, they are also dealing with new well. The paper identifies and analyses through

42 crucial case studies two types of networking The project Turin Earth considered the chang- strategies: the first one is based on the imple- ing that recent immigration has produced in mentation of international partnerships with the urban context: from september 2010 to other European museums, mainly aimed at march 2011, the Museum organized a main addressing difficult and crosscutting topics. exhibition, a program of film projections, The second, typically Italian, is grounded on shows, conferences, and educational activi- local cultural resources and centers (includ- ties. By this project, the Museum got in con- ing libraries, schools and other local museums) tact with over 50 association and institutions which constitute the elements of a local net- working on multiculturalism and migrations, work; the city museum acts as the main knot of starting a network collaboration. this network, which constitutes a widespread Contemporary Museums, like other cultural cultural system, deeply rooted in the territory agencies, should be considered on a par with and therefore able to establish a relationship public services and must similarly take on so- with its communities. These are two possible cial functions and responsibilities, offering a models that, once properly implemented, may cultural policy that can involve the participa- become an effective tool for XXI century Eu- tion of the greatest number of people. A place ropean city museums. where knowledge, enhancement of civil con- sciousness and continuous reconsideration of identity should be possible. 14.50 – 15.10 2. The exhibition Social and cultural plural- Guido Vaglio Laurin (Museum of the Re- ism – natural results of the changing city – are sistance, Deportation, War, Rights and Free- the subject of the exhibition that has been the dom, Turin), ‘Turin Hearth. City and new mi- main event of the project. A way to deal with grations’. A two-year project in Torino. foreign migration showing not only the prob- lems and the critical points, but also the slow 1. From the historical reflection to a civil con- but continuous changing of a city evolving sciousness, connected to contemporary age. with the whole world.

43 Migrant flows have always characterized this exhibition come from thirty interviews the history of the city, bringing to Turin that were made specifically for this event, in hundreds of thousands of people, first from addition to other stories previously collected other Italian regions and lastly from different by the curators. Countries in the world. Migrants have been 3. An experimental training programme one of the most powerful engines of urban Within Turin Earth, a specific educational transformation, with their social claims, their programme, ‘Diffondere Costituzione. Da contribution to production, their customs visitatori a cittadini’ (‘To spread the Consti- and everyday practices. Today Turin is a city tution. From visitors to citizens’) was carried of plurality, where identities and differences out, involving groups of foreign citizens to coexist and interact together. Turin dialogues promote the knowledge of the Italian Con- with Earth. stitution through the permanent display of Which role the new residents play? How do the Museum. Visits, meetings with experts, they see the city? How do they perceive and comparisons between the Italian Constitu- describe their feeling of belonging to a certain tion and those of the Countries of origin of place? How do they experience and how do the participants, discussions on key-words they use these places? The exhibition provides highlighted by the group, were the steps of some answers to these questions, according to this activity. an approach that, like Google Earth, zooms in at increasing levels of detail. It starts with a look from above, to the city as a whole, mov- 15.10 – 15.30 ing down to the exploration of city districts, Questions & Discussion all the way into the homes of migrants, and a virtual encounter with some of their in- habitants. The display of maps, videos, pho- 15.30 – 15.50 tographs, is further enriched by the words of Coffee break the protagonists. All quotations presented in

44 national societies. Digital and cultural connections These issues are addressed in the paper from — Session Chair: Beatrice Ferrara a design perspective, aiming at providing an innovative contribution and increasing the au- thoritativeness of design thinking and design 14.10 – 14.30 approach in the field of cultural institutions. Dr Eleonora Lupo, Lucia Parrino, Sara Ra- In the ‘age of migration’ scenario, novel prac- dice, Dr Davide Spallazzo and Dr Raffaella tices and operative approaches to continu- Trocchianesi (Politecnico di Milano), Mi- ously and interculturally re-discuss, re-create grations and multiculturalism: a design ap- and re-negotiate the heritage within the dif- proach for cultural institutions. ferent cultural institutions need to be enabled and designed. In this frame, design and digital This paper describes the early findings of an technologies are tools for increasing the op- on-going research activity developed within portunity to make different cultures intersect the general framework of the EU FP7th and, at the same time, for de-intermediating funded project ‘MeLa – Museums in an Age the experience of heritage, allowing users to of Migrations’, a four year research project play an ever more active rather than passive carried out by an interdisciplinary group of role (participation and co-creation of con- nine European partners. MeLa is an interdis- tents). In the intersection between cultural ciplinary project which involves scholars (mu- frictions, evolving heritage and enabling de- seologists, architects, designers, art curators, vices we pose the design discourse: analysing historians and experts of interactive technolo- cases and best practices (within museums), gies) in a reflection on the role of museums we explore the combinations of technologi- and heritage, by addressing the issue of inter- cal tools and contents that enable diverse dy- twining together migration, multiculturalism, namics of cultural representation, being them identity and memory, in order to envision sce- aimed at creating multicultural narratives, narios for the 21st Century Museum for trans- fostering intercultural dialogue or stimulating

45 transcultural practices. In fact novel models of exhibiting, interpret- 16.10 – 16.30 ing and representing the cultural assets are Dr Frauke Miera (free lance curator), Dr emerging: museums and cultural institutions Lorraine Bluche (free lance curator), Po- are amplified and enriched by digital tech- lyphony in an urban history museum: The new nologies and diverse and even dissenting in- audio archive of the Kreuzberg Museum as one terpretations can be layered on the cultural step on the road to a participatory and inclusive assets resulting in a multifaceted image of contemporary collection of the city of Berlin. the museum. Digital technologies can indeed deeply modify the relation between people How can the diversity of a today’s European and contents but at the same time they can city be represented in a contemporary way affect the relation of visitors with space and in an urban history museum? What does the their social engagement: museums can there- plurality of society mean for the practice of fore become a connective space, able to put in collecting and the way of dealing with exist- relation diverse people, but also responsive en- ing collections? How can history museums in vironments, that modify according to visitors’ Germany overcome their long lasting neglect behaviour. In these models of understand- of the heritage of contemporary migrants and ing and comprehension of cultural diversity their descendants – and other marginalised within museums, we include not only exist- groups? Who defines the criteria of what is ing ones, observed through case studies and worth being collected and preserved in an ur- literature review, but also novel approaches ban history museum? that can be pursued. These first findings will Within a two-year project as freelance curators indeed inform some design hypotheses aimed at the Berlin Kreuzberg Museum, an urban his- at supporting museums and cultural institu- tory museum in the borough of Friedrichshain- tions in consciously addressing the issues of Kreuzberg, we had the opportunity to curate cultural frictions and integration in designing two exhibitions centred around these questions heritage experiences. and to develop further ideas about how to build an innovative contemporary and participatory 46 collection for and of the city of Berlin. This avoided, frequented, or adopted by people in seems even more a challenge to us because, as many different ways. far as we know, until today there is no urban In one exhibition room, which is designed with museum or institution that systematically deals a walk-on-able city map, individuals of differ- with the challenges of collecting and preserving ent ethnic, social, political etc. background, mi- the contemporary heritage of this multicultural grants and non-migrants, tell their individual and in many aspects diverse city. memories regarding concrete places in the bor- In our paper, we would like to present one ough and how they shaped theses places. The module within our larger vision: the creation visitor can hear or read the single stories via of an audio archive, composed of personal iPod, follow the routes of the interviewees or local stories which will be also available via listen to different stories about one same place. smartphone applications in the city in situ. Through this, a dense and multifaceted picture The idea is based on our exhibition on urban of the urban district develops. The exhibition is history of the borough of Friedrichshain- extensible as the visitor may contribute more Kreuzberg, ‘ortsgespräche. stadt – migration local stories. The about 150 stories from nearly – geschichte. vom halleschen zum frankfurter thirty interviewees we recorded so far will be tor’ (‘local chats. city – migration – history. the base of a much larger collection of loca- from hallesches to frankfurter tor’) which we tion-based stories about the city of Berlin. This developed in cooperation with various com- collection will be preserved and archived in a munity members (opened January 2012). This professional way and at the same time made exhibition is structured along urban places in available to a broader public via a geo-located the borough of Friedrichshain- Kreuzberg. The smartphone application. Nevertheless, in our idea behind the decision to take urban places view a contemporary urban history collection as points of departure was to find a way of should not reduce itself to intangible audible telling migration and urban history as interde- heritage. Instead, participatory, inclusive ways pendent and entangled with each other. Places of developing an appropriate collection of a di- in a city are shaped, remembered, changed, verse society need to be developed.

47 to re-appropriate of both the museum and the 16.30 – 16.50 public space and declare, claim, remember, pro- Dr Celeste Ianniciello (University of Naples), duce and share their ‘being-there’. Emphasizing Re-collecting and Connecting: Museums, Public the related essential rejection of any distinction Art, and the relocation of Cultural Memory. between State citizens and migrant inhabitants, I shall reflect on the way such ‘aesthetic’ expe- Some contemporary practices of archiving and riences can be defined as ‘postcolonial encoun- displaying memory, based on participatory ters’, inasmuch they may develop a new aware- projects, have transformed the museum from ness about belonging and citizenship, hence the traditional European place of construction questioning any established border concerning and affirmation of national identity and supe- the space and time of community, heritage, cul- riority into a dynamic space of both aesthetic tural memory and identity. research and critical contact with the multiple In this sense, I shall finally suggest how these and migrant realities of the modern world. artistic participatory experiments can promote Like the nation-state, the museum as the safe a creative contamination between diverse cul- abode of an institutional memory is facing an tural perspectives, and a new idea of ‘network- inexorable process of decline: it is becoming ing’, suggesting new political and social guide- mobile and global. lines for more sustainable museum practices. My paper will be focused on the way the col- laboration with transnational public art based on collective and participatory processes of ‘re- 16.50 – 17.10 collection’ (i.e.: memory work as creation) has Questions & Discussion transformed the museum into a ‘living archive’ of migrant memories, enabling creation, pro- duction and innovation rather than merely pro- 17.10 – 18.30 viding preservation and exhibition. I shall start Closing reception from the analysis of some example of participa- tory art highlighting the possibility for people 48 49 50 Speakers’ and session chairs’ biographies

arquez roth, agnès the National Center of the History of Immi- gration (Directrice Réseau et Partenariats à la After having successfully completed her di- Cité nationale de l’histoire de l’immigration, ploma in the comparative history of religions Palais de la Porte Dorée / Paris). and religious anthropology (Master 2 La Sorbonne-Paris IV), Agnès Arquez-Roth pur- sued studies at the Ecole du Louvre (history badenoch, alexander of art). Her first professional experience led her to take part in the creation of the Mu- Alexander Badenoch (1971) is a historian of sée d’Orsay in Paris and the development of media, culture and technology based in the its cultural service. She later researched the Netherlands, and is chief content editor of the asthetic and stylistic characteristics of the Inventing Europe international virtual exhibit Haute couture house Louis Féraud. For nine for the Foundation for the History of Tech- years she ran a local mission, an association of nology in Eindhoven. He received his PhD public utility, for which she developed various in Modern Languages from the University of cultural and artistic projects for the interna- Southampton (2004) and was Post-Doc on the tional festival of graphic arts at Chaumont. Transnational Infrastructures and the Rise of She completed her training with a Masters Contemporary Europe (TIE) project at the degree in the management of human resourc- Technical University of Eindhoven (2004–8) es and relation to employment at the Insti- and Instructor in Media and Cultural studies tut d’Administration des Entreprises de Paris. at the University of Utrecht (2008–2012). In She also worked for four years for the Fonds 2010–11, he was a fellow at the Netherlands d’Action et de Soutien pour l’Intégration et la Institute for Advanced Study (NIAS). He is Lutte contre les Discriminations (FASILD), in co-founder of the Transmitting and Receiving particular as a director of the Champagne- Europe (TRANS) collaborative research net- Ardenne region. She is currently in charge of work and member of the Tensions of Europe the direction of network and Partnership of Collaborative Network and Research Program.

51 He is author of Voices in ruins: West German ‘NeuZugänge. Migrationsgeschichte(n) in radio across the 1945 (Palgrave 2008, winner Berliner Sammlungen’ (New in stock. Migra- of the 2007–8 IAMHIST prize) and editor, tion hi/stories in Berlin Museum collections), with Andreas Fickers of Materializing Europe: 2011, and ‘ortsgespräche. stadt – migration – transnational infrastructures and the project of geschichte. vom halleschen zum frankfurter Europe (Palgrave 2010). His research covers a tor’ (‘local chats. city – migration – history. range of topics including European broadcast- from hallesches to frankfurter tor’), 2012. ing history, questions of digital heritage, and representations of European space, and draws on disciplines including media and cultural dewdney, andrew studies, cultural geography, gender studies, and history of technology. Professor Andrew Dewdney was the Princi- pal Investigator and Director of the AHRC, Tate Encounters Britishness and Visual Cul- bluche, lorraine tures research project and a co‐author of Post Critical Museology: Theory and Practice in the Dr. phil. des., studied French Studies at Free Art Museum (Routledge 2013). He has writ- University Berlin. 2004–2006 scientific train- ten extensively in the area of the politics of eeship at Deutsches Historisches Museum, visual and media cultures. He is currently Berlin, 2006–2011 dissertation project within revising a second edition of The New Media the research project ‘Imagined Europeans. Die Handbook ( Routledge 2013) and is on the wissenschaftliche Konstruktion des Homo Eu- Editorial Advisory Board of the peer re- ropaeus’. She works as a curator, recently with- viewed journals Philosophy of Photography and in the project ‘Migration macht Geschichte’ Photographies. He is a research professor at (funded by Hauptstadtkulturfonds) at Bezirks- The Centre for Media and Culture Research, museum Friedrichshain-Kreuzberg, Berlin, in the Faculty of Arts and Human Sciences at within which she curated the two exhibitions: London South Bank University.

52 ferrara, beatrice and among people whose voices are silenced, ignored or forgotten. From the years of travel Beatrice Ferrara holds a PhD in ‘Cultural and across countries including Iran, Kurdistan, postcolonial studies of the Anglophone world’ Palestine, Iraq and of her life and work with from the University of Naples ‘L’Orientale’. refugees; listening to and living together with Her research interests include the urban cul- those who endure the day to day consequenc- tures of the black diaspora, and in particular es of war, oppression and poverty, there comes sound system-based cultures; cyberculture; again and again the request: ‘Don’t forget us’. theories of affect and post-representation; im- material labour. She has published articles in Italian and in English on feminine and femi- ianniciello, celeste nist writings, on the cybercultural movement of Afrofuturism, and on the music of Sun Ra, Celeste Ianniciello holds a PhD in ‘Cul- DJ Spooky and Scanner. She has partecipated tural and postcolonial studies of the Anglo- in the organisation of international seminars phone world’ from the University of Naples and conferences, and is currently writing on ‘L’Orientale’. Commencing from the rela- afrofuturist post-racial imaginaries and on tion between I/eye and place in female mi- the British art-duo The Otolith Group. She is grant subjectivities, her research analyzes the a member of the MeLa Project. visual (auto)biography of female artists from Middle-Eastern and Mediterranean coun- tries as a contrapuntal example set against henneman, annett the epistemology of geographical, cultural and sexual borders. She has participated in Annet Henneman is founder, director and ac- national and international conferences, and tress of Teatro di Nascosto – Hidden Theatre. published critical essays on literature, cin- For fourteen years Annet has travelled into ema and visual arts. She is a member of the areas of conflict and oppression to live beside MeLa project in Naples.

53 innocenti, perla (MNHN). Laurence has been involved in the project, New Museography of the Musée de Perla Innocenti is Research Fellow in Cul- l’Homme since September 2009. Before that, tural Heritage Informatics at the University of she was the curator for the exhibition ‘La Hève Glasgow and Principal Investigator of the EU- et la dent, falaises et fossiles normands’ at the funded collaborative project MeLa project – Le Havre Natural History Museum (2008) European Museums in an Age of Migrations, and she participed in the setting up of the Ex- where she is leading research on networks of hibition ‘Parce queue’ at the Neuchatel Swizer- cultural institutions. She studied History of land Natural History Museum (2009). Art at University of Rome La Sapienza, and Management and Communication of Cultural Heritage at Scuola Normale Superiore of Pisa. joy, annika Perla led research and contributed to various national initiatives and EU-funded FP6 and Annika is the Science Museum’s Head of Au- FP7 projects (DPE, Planets, CASPAR, SHA- dience Research & Advocacy, the strategic lead MAN, DL.org, and ECLAP). The results of for new audience engagement and a member her research on Museum Studies, Digital Pres- of the museums Senior Learning Manage- ervation, Digital Libraries and Cultural Herit- ment team. She directs a full-time time of age Informatics are available in various publi- audience researchers who, in a cycle of front- cations. More information at http://www.gla. end, formative and summative research, enable ac.uk/schools/cca/staff/perlainnocenti/ the museum to reduce the barriers visitors may experience in relation to the public realm, the collection and its interpretation. She advises isnard, laurence the museum on an evidenced-based approach to engaging new and hard to reach visitors, en- Laurence Isnard is Heritage Curator at the suring the widest possible access to the collec- Muséum National d’Histoire Naturelle tions and learning offer. She leads on the strat-

54 egy for co-creation (a participatory method of funded seminar series ‘Transnational Issues, exhibition development) at the Science Muse- Local Concerns: Insights from Russia, Central um and in developing new approaches to phys- and Eastern Europe and the UK’ (2003–04) ical and intellectual access through enhancing was an important experience to explore and the diversity of voices and narratives the public understand the multiple processes of transfor- are able to see and hear in the museum. An- mation taking place in the postsocialist region nika’s background is in audience engagement and beyond, but also, specifically, to cross some and development for the cultural sector, and of these geographical, disciplinary and profes- she has worked and consulted for organisa- sional boundaries. Prof. Kay is also interested in tions including the British Museum, Heritage the geopolitics of welfare and globalisation of Lottery Fund, Edinburgh International Book care, and the complex, and often interdepend- Festival, National Museums of Scotland and ent, relationship between material welfare and the National Singing Programme. emotional care in producing social security at local, national and global scales. Homepage, projects and publications: http://www.gla. kay, rebecca ac.uk/schools/socialpolitical/staff/rebeccakay/

Rebecca Kay is Professor of Russian Gender Studies (Central and East European Studies). kenny, eleanor Prof. Kay is interested studying gendered ex- periences of socio-economic, cultural and po- Eleanor Kenny is Europeana’s European Cam- litical transformation in contemporary Russia paign Manager. She has more than a decade’s since the early 1990s. In addition to this, she is experience working in the arts and cultural committed to furthering dialogue between re- heritage sector including with the UK De- searchers across geographical (East/West) and partment for Culture, Media and Sport, The disciplinary boundaries and between academ- European Commission’s Culture Programme, ics, policy-maker and practitioners. The ESRC- English Heritage, Arts Council England and

55 The British Library. A cultural communica- ences: ‘City, migrations, citizenship and identi- tions specialist Eleanor has extensive interna- ty: new challenges for European contemporary tional experience in the EU, heritage, film, and city museums’ at the City Museums: Collisions cultural and digital access networks. | Connections conference (Vancouver, Canada, 24- 26 October 2012); ‘The City Museum as a Civic Project. Insights from Italy: the relation- lanz, francesca ship between heritage, people and territory in the Italian tradition of civic museums’ at the Francesca holds a Ph.D. in Interior Archi- ‘Placing’ Europe in the Museum: people(s), places, tecture and Exhibition Design and a MS in identities conference (Newcastle University, Architecture. She is a temporary Professor in UK, 3–4 September 2012); ‘The narratives of Interior Design at the School of Architecture migration and the representation of national and Society of Politecnico di Milano, and a identity in Italian Migration Museum’ at The Post-doc research fellow in the Department Museum 2011. Building Identity: The Making of of Architectural Design. Since 2006 she has National Museums and Identity Politics confer- collaborated to several research projects and ence (Taipei, Taiwan, 16–18 November 2011). teaching activities in the field of interior archi- Recent publications include: F. Lanz. 2012. tecture for different departments of Politec- ‘The Interior Decoration of Ocean Liners: A nico di Milano. She is currently involved in the Chapter in Italian Design History’, Interiors: European Research Project MeLa ‘European Design, Architecture, Culture Volume 3, Is- Museums in an Age of Migrations’ where she sue 3; F. Lanz and G. Postiglione. 2012. ‘The serves as assistant for the Project Coordinator MeLa Project: research questions, objectives and as researcher, investigating currents trends and tools’, in Museums in an Age of Migrations: in European city museums. Her research inter- questions, challenges, Perspectives. L. Basso Pe- ests include interior architecture, museography ressut and C. Pozzi (eds) Milano: Politecnico and exhibition design. She recently presented di Milano-DPA; F. Lanz (ed). 2012. Letture di the following papers at international confer- Interni. Milano: Franco Angeli.

56 lupo, eleonora Today (Routledge, 2013). More information at http://www.york.ac.uk/sociology/our-staff/ Eleonora Lupo is Assistant professor at Po- academic/sharon-macdonald/ litecnico di Milano, Ph.D. in Industrial De- sign and Multimedia Communication at the Indaco Dept. of Politecnico di Milano in 2007. messner, john MA degree in 2001 in Industrial Design at the Design Faculty, Politecnico di Milano. In 2008 John Messner holds the post of Curator, Trans- Visiting Researcher and Lecturer at the School port and Technology at Glasgow Museums. of Design Hong Kong Polytechnic University. His remit includes the extensive railway, tram, subway and bus collections. He was a member of the content design team for the Riverside macdonald, sharon Museum, which opened in June 2011. He was responsible for new primary research into the Sharon Macdonald has recently joined the collections as part of the creation of the dis- University of York as Anniversary Professor plays within the museum. He was a project of Cultural Anthropology in the Department manager for the purchase, return and conser- of Sociology. Previously she was Professor vation of a Glasgow built steam locomotive of Social Anthropology at the University of from South Africa as part of this project. This Manchester, and before that was Professor of led to research into the history of the railways Cultural Anthropology at the University of in South Africa, including the development of Sheffield. Her publications include A Com- racially based laws and practices in transport in panion to Museum Studies (Blackwell, 2006 – the country. This ultimately led to a display on Choice Outstanding Academic Title Award), the history of racial discrimination in transport Difficult Heritage. Negotiating the Nazi Past in in South Africa within the Riverside Museum. Nuremberg and Beyond (Routledge, 2009) and Previous to coming to Glasgow, he held the Memorylands. Heritage and Identity in Europe post of Curator of Industry at the Museum

57 of Science and Industry in Manchester where tion hi/stories in Berlin Museum collections), he worked with the textile, paper making and 2011, and ‘ortsgespräche. stadt – migration – machine tool collections. John holds a MA geschichte. vom halleschen zum frankfurter tor‘ in Museum Studies from the University of (‘local chats. city – migration – history. from Leicester and a BA in History from Butler hallesches to frankfurter tor’), 2012. University, Indianapolis, Indiana, USA.

phipps, alison miera, frauke Alison Phipps is Professor of Languages and Dr. phil., curator and political scientist. She Intercultural Studies (Creativity Culture and studied at Free University Berlin, her main ar- Faith). Her research interests focus on languag- eas of interest are migration/integration/mutli- es and intercultural studies, with a particular culturalism and musealisation of migration. She critical concern for the different ways in which worked as a researcher, e.g. in the EU-Project people learn to live and communicate together, ‘EMILIE – A European Approach to Multicul- by stepping outside comfortable or familiar con- tural Citizenship: Legal, Political and Educa- texts. Her work is interdisciplinary and draws on tional Challenges’ (2006–2009). She gained her the resources of social and cultural anthropol- profession as a curator at Haus der Geschichte ogy, theatre and cultural studies, theology, law, der Bundesrepublik Deutschland, Bonn as well modern languages and education. Her Ph.D. as at Deutsches Historisches Museum Berlin. research and ethnographic training focused on She managed the project ‘Migration macht open air community theatre in Germany. She Geschichte‘ (funded by Hauptstadtkulturfonds) has continued ethnographic work among tour- at Bezirksmuseum Friedrichshain-Kreuzberg, ists, modern language students, adult learners Berlin, within which she curated the two exhi- of tourist languages, in conflict transformation bitions: ‘NeuZugänge. Migrationsgeschichte(n) and among sanctuary and asylum seekers, refu- in Berliner Sammlungen‘ (New in stock. Migra- gees and befrienders. At present Prof. Phipps

58 is developing research on languages and inter- ler heritage. Pat Reynolds’ PhD (Archaeology, cultural advocacy with asylum seekers and refu- York, 2009) Transmission and Recall: the meaning gees; and developing her work and workshops and use of short wall anchors compared the use on education for peace and non-violence with of a ‘Dutch’ building technique in early modern a growing focus on constructions of faith and buildings in colonial and trading partner con- on the contribution of theological perspectives. texts, and its use in sustaining ‘Dutch’ identity Together with Rebecca Kay, she co-convenes in those locations. Her MBA dissertation (Sur- the Glasgow Refugee, Asylum and Migration rey 2012) was on quality in heritage industries; Network. Homepage, projects and publications: it examined how quality was viewed by people http://www.gla.ac.uk/schools/education/staff/ working in those industries, and the stakehold- alisonphipps/ ers of those industries.

reynolds, pat richards, john

Dr Pat Reynolds has worked for over 25 years Dr Richards is Head of Subject and Senior Lec- in various heritage organizations, most recently turer of History of Art, at the School of Culture leading Surrey County Council’s heritage teams and Creative Arts, University of Glasgow. John (archives, development control, community and is also Principal Investigator of the EU-funded developer funded archaeology, museum devel- project European Collected Library of Artis- opment support). She has a particular interest tic Performances (ECLAP). His teaching and in issues of access, identity and (self-)represen- research are concentrated on late medieval and tation. She has been working with vilified com- early Renaissance art, with particular emphasis munities, and using heritage work to address on the impact of Humanism on visual culture, a stigma. Her work has included actions leading major aspect of his books on Altichiero (2000) to the preservation and use of the heritage of and Petrarch’s Influence on the Iconography of mental health and Gypsy and Irish Travel- the Carrara Palace in Padua: the Conflict be-

59 tween Ancestral and Antique Themes in the Text Digitizing project at the National Agri- Fourteenth Century (2007). cultural Library in the late 1980’s. Develop- ing strategies for teaching and learning and partnerships with other librarians, faculty and rinaldo, constance students have always been a priority for Con- nie—from preparing biology classes and labs Constance Rinaldo has been the Librarian during her science graduate education, work- of the Ernst Mayr Library of the Museum ing with faculty and students on information- of Comparative Zoology (http://library.mcz. based projects as a student and librarian, to harvard.edu/and https://www.facebook.com/ teaching the skills of information mining and ernstmayrlib) at Harvard University since bibliographic tools to students, staff and facul- 1999. She is a founding member of the Bi- ty at Dartmouth and Harvard. Connie is pas- odiversity Heritage Library (http://www. sionate about natural history and making li- biodiversitylibrary.org/) and vice-chair of the brary collections, including special collections, BHL Executive Council. Connie received open and accessible to the global community. her M.L.S. from the University of Maryland, You can follow Connie on twitter: @coniferr an M.Sc. from the University of Connecti- cut and a B.A. in Biology and Anthropology from the University of Massachusetts, Bos- rogatchevskaia, ekaterina ton. Prior to becoming the Librarian of the Ernst Mayr, Connie spent 10 years as Head of Lead curator of East European Studies, Brit- Collections and Coordinator of the Librarian ish Library. Graduated from the Moscow State Liaison program in the Biomedical Libraries University with the degree in Russian Lan- at Dartmouth College. Connie’s interest in guage and Literature and received her doctorate digitization of library materials and data cu- from the Institute of World Literature (Acad- ration began when she was a library student emy of Sciences). In 2001 she received her MSc and worked as an assistant in the National in Information Studies from the University of

60 Strathclyde. Has worked at the British Library Institute for Clinical Audit (NICE). It was since 2003. Among other titles she authored there that she developed her interest in change and co-edited Tsikl molitv Kirilla Turovskogo management, evidence-based practice and (Moscow, 1998) and Oxford Companion to the quality improvement in libraries. Developing Book (2010); in 2011, she also co-curated the services that widen access to collections, British Library exhibition Out of This World: including digitisation, and providing new ways Science fiction, but not as you know it. to support researchers has underpinned all the Library projects Jane has been involved in.

smith, jane sergi, domenico Jane Smith is joined the Natural History Museum in 2006 as Head of Library Collections Domenico Sergi is a PhD researcher at the and Services and has recently taken up the role of School of World Art Studies and Museology, Acting Head of the Department of Library and University of East Anglia. He holds a BA in Archives. She currently represents the NHM Communication Sciences (La Sapienza, Rome) on the Biodiversity Heritage Library Steering and a MA in Social Anthropology (School of Committee (http://www.biodiversitylibrary. Oriental and African Studies, London). He has org). Prior to joining the NHM, Jane worked at worked as a museum educator for several years the was Deputy Librarian and then Librarian at in a number of institutions across Europe. the British Medical Association where she was responsible for delivering remote access services to individual and one of the largest institutional spallazzo, davide membership schemes in the UK. She was Centre Manager at the Department Of Health Davide holds a Ph.D. in Design from Politecni- funded National Centre for Clinical Audit, co di Milano, Italy, and has been involved in sev- which has since evolved into the National eral national and international research projects

61 regarding the use of digital technologies for the Museum in Sydney, where she is responsible enhancement of cultural heritage. He’s currently for developing collections, exhibitions and pro- research fellow at Politecnico di Milano. grams relating to migration to Australia. She has a Bachelor of Arts in Classical Archaeology, Anthropology and Sociology, and a Master of straachan, aileen Arts in Museum Studies, both from the Uni- versity of Sydney. Kim is the curator of the cur- Aileen started working for Glasgow Museums rent travelling exhibition On their own – Brit- after graduating from Glasgow University, where ain’s child migrants, which explores the history she studied Scottish Literature and Language. of British child migration to Commonwealth She spent time spent working on the Riverside countries including Australia, Canada, Zim- Museum Project to move the city’s transport and babwe and New Zealand. The exhibition was technology collections to the new purpose built developed in collaboration with National Mu- museum by the Clyde. Eventually as a Project seums Liverpool in the UK and won the award Curator she researched, planned, and developed a for best exhibition at the 2011 Museums & variety of different story displays. She curated the Galleries New South Wales IMAGinE Awards. Reel Lives exhibition which included an exhibi- Kim was previously the Curator of Social His- tion and website designed to prompt responses tory at Fairfield City Museum & Gallery, located and memories to our objects. She left Riverside in one of the most culturally diverse local govern- in 2010 to co-ordinate the Curious Project, based ment areas in Australia. She curated a number at St Mungo Museum of Religious Life and Art. of exhibitions with migrant communities includ- ing From Dawn to Sunset: Ramadan, Tet Nguyen Dan: Vietnamese New Year and Bodgies, Westies & tao, kim Homies: Growing Up in Western Sydney, winner of the New South Wales Local Government Cul- Kim Tao is the Curator of Post-Federation Im- tural Award for 2007. migration at the Australian National Maritime In 2008 Kim was awarded a Churchill Fellow-

62 ship from the Winston Churchill Memorial for cultural events; museum concept-develop- Trust of Australia to study strategies for build- ment and management. He has been involved ing sustainable partnerships between museums in culture policy-making, international cul- and culturally diverse communities in the UK, tural projects; project conception and organi- Canada and USA. She was able to research in- sation for cultural events. Vaglio Laurin has novative models for collaboration between mu- taken part in conferences and other training seums, government, schools and communities, opportunities on a national and international which have helped to build a stronger sense of level. He has worked with teaching agencies as identity and belonging in multicultural com- a lecturer, holding courses on museum design, munities. museum strategy and the Italian regulations in Kim’s research interests include migration his- this sector. He has edited catalogues and pub- tory in museums, community engagement, and lished articles and about exhibiting, museums, museums and national identity. She has pub- museum presentation of historical memory of lished articles on migrant and refugee collec- the 20thC, Italian deportation memories. tions and exhibitions, as well as several exhibi- tion catalogues including Rituals & Traditions and Storytelling Around the Dining Table. walsh, victoria

Dr Victoria Walsh is Visiting Research Fellow vaglio laurin, guido in the Arts and Media Department at London South Bank University which builds on her Born in Turin, 28.12.1956, qualified as a histo- role as Co‐investigator of the AHRC funded rian; currently Director of the Museum of the project ‘Tate Encounters: Britishness and Vis- Resistance, Deportation, the War, Rights and ual Culture’ (2007‐10). From 2005‐11 she was Freedom in Turin. Vaglio Laurin has worked in Head of Adult Programmes at Tate Britain the field of education in museums; realisation where her work spanned both the Research and of temporary exhibitions; project conception Learning Departments. She is joint supervisor

63 of two AHRC Collaborative Doctoral students experience, on both sides of the Atlantic, com- at Tate which continue to build on the research bining interdisciplinary art productions with findings of Tate Encounters looking at the advocacy, research, policy and programme de- agency of audience within the museum and the velopment for non-profit arts organisations as role of digital media. As an independent curator, well as governments. She has a particular in- researcher and project manager she has worked terest in investigating how the digital shift has across both the public and private sector includ- affected our society and in the intersection of ing for the Mayor’s Cultural Office, London; art and culture with other fields of endeavour. LSE Cities; Architecture Foundation; National Katherine has been a producer, director, manag- Galleries of Scotland; Foster & Partners and er, fund developer, arts adviser and jury member, has taught at various London universities. and chair of several boards. She is currently on the governing council of the European Founda- tion Centre in which ECF plays an active part. watson, katherine

Katherine Watson has been the Director of zanoun, louisa the European Cultural Foundation (ECF) (www.eurocult.org ) since June 2010. Based Louisa Zanoun is Head of Scientific and Cul- in Amsterdam, ECF is an independent pan- tural Affairs at Génériques, Paris (France). European foundation, acting as a catalyst for Zanoun is a historian, leading and publishing change through arts and culture, via its activi- research on immigration politics and social ties, programmes, grants and online platforms. representations in France after the XIX cen- Katherine moved from Canada to join ECF in tury; nationalism and cultural/religious/politi- 2006 as Director of its online partner initiative, cal identity; national and regional borders in the multi-lingual cultural information and net- Europe; political regional research and history working platform www.labforculture.org. of international relations in Europe and glob- Katherine has over 30 years of international ally between 1815–1975.

64 65 66 Poster presenters’ biographies

bak, jakob cross-disciplinary work in product and service development, bringing together stakeholders Jakob is an interdisciplinary design-engineer from diverse fields to approach exploration and from the Technical University of Denmark development in a holistic manner. (DTU) where he graduated with a Masters degree from the Design & Innovation pro- gramme. Before joining CIID Research, Jakob bellelli, michele was at the consultancy side of CIID where he worked with design prototyping and executive I was born in Reggio Emilia (Italy) in 1976. training courses on design process and think- 2003: Graduated in contemporary history at ing for clients in East-Asia. Prior to this he the University of Bologna (Italy). Since 2002: worked with a number of Danish artist devel- I work at Istoreco (Institute for contemporary oping sensing installations, and did consulting history of Reggio Emilia) as archivist and re- and research for the Danish Broadcasting Cor- searcher. As co-author, I have published two poration and the Danish Architecture Centre. books of social history about the first world Jakob’s interest in design research is supple- war: Una regione ospedale. Medicina e sanità in mented with a profound curiosity in physical Emilia Romagna durante la prima guerra mon- and embedded computing, digital crafting diale (Clueb, Bologna 2010, co-authors Fabio tools and the promise and impact of rapid pro- Montella, Francesco Palella, Felicita Ratti) and totyping on the design process and delivera- Piccola patria, grande guerra: la prima guerra bles. His main focus is divided into three areas: mondiale a Reggio Emilia (Clueb, Bologna understanding the role of user-research and 2008, co-authors Mirco Carrattieri and Al- contextual inquiry in design, examining how berto Ferraboschi). I have written articles on designers themselves understand their process, the Istoreco magazine ‘RS Ricerche storiche’ and developing interactive design prototypes about the second world war and the fascist through software and embedded electron- dictatorship in Reggio Emilia and Reggiane ics. Jakob is strong proponent of the power of factory. I am specialized on the history of the

67 Reggiane factory and its impact in the local is member of the Research team in Design way of life in the 20th century. I am director for Cultural Heritage, at Politecnico of Milan, of Istoreco photographic archive that preserve INDACO department, and, with the team IN- many thousands of pictures about the life in DACO participates to the MeLa Project. Since the 20th century in Italy, with particular atten- 2005 she has worked as didactic coordinator tion to the events of the two world wars and in specialisation courses about management of the Italian colonial wars. cultural heritage at the Università Cattolica del Sacro Cuore (ALMED – Postgraduate School in Media Communication & Entertainment). capurro, rita Since 2007 she has been the didactic coordina- tor of the master in Museology, Museography Born in 1968, graduated summa cum laude in and management of cultural heritage at the Arts and Humanities in 1992 at the Univer- Università Cattolica del Sacro Cuore, Milan. sity of Genoa (Italy), she continued her studies From 1992 to 2005 she worked in the produc- in History of Art (University of Genoa, Spe- tion and coordination of several cultural projects cialization course) then in ‘Management and for the Dioceses of Genoa and Tortona. Her valorisation of ecclesiastic cultural heritage’ research interests are focused on religious art (Università Cattolica del Sacro Cuore, Milan, and tourism, musealization and interpretation Specialization course) and, finally, Ph.D. in of religious cultural heritage, the intercultural ‘Design and Technology for the Valorisation of dialogue through educational activities in mu- Cultural Heritage’ at Politecnico of Milan. She seums. She has published in the fields of history is currently collaborating to didactic activities of art, of musealization of religious cultural her- on several courses within the Faculty of Soci- itage and of religious tourism. She is member of ology at the Università Milano-Bicocca (Re- ICTOP (ICOM International Committee for ligious Tourism) and the Faculty of Economy the Training of Personnel) and AMEI (Asso- at the Università Cattolica del Sacro Cuore, ciation of Italian Ecclesiastical Museums) and Milan (History of Art and Museology). She chief editor of AMEI’s website.

68 hessling, riccarda ing an internship at the project Humboldt Forum, the future museum of the Museum Riccarda Hessling was born in 1986 in Ger- Island in Berlin and simultaneously gaining many and soon moved to London, UK. Af- experience as a freelancer for the Hamburger ter 4 years she and her family moved back to Bahnhof Berlin in organising an art festival Germany where Riccarda spent her teenage for teenagers. Furthermore she is working as years. She lived in Montreal Canada for a an assistant in the Humboldt Lab, a research year when she was 16, which completed her facility of the future Humboldt Forum which varied experience of international educa- is concerned with sustainable solutions for tional systems thus growing more and more the museum’s design and concepts. critical of the German schooling system. In 2006, Riccarda moved to the Netherlands to study Educational Design, Media and Man- jaukovi, marija agement. In 2010 she defended her thesis after researching the effects of learning en- Marija Jauković is MA student of Museol- vironments in schools and defining criteria ogy at Reinwardt Academy in Amsterdam, for the design of learning environments for The Netherlands. She graduated in 2010 at children. A personal interest in museums and the department for Art History, at Faculty of culture was quickly combined with an inter- Philosophy in Belgrade, by defending a thesis est in the museum as an ideal learning envi- titled Medieval Sacral Architecture in Cyprus, ronment. Riccarda worked in two museums XII-XIV Century. After graduating she de- with very low budget designing educational cided to explore the role of heritage in identity programmes for each, before starting as a MA constructions and enrolled in a MA Program student at the Reinwardt Academie, Amster- in Museology and Heritology, at Seminar for dam for which she is writing her thesis about Museology and Heritology, at Faculty of Phi- the Museum Laboratory and experimental losophy in Belgrade. She is currently research- research in museums. Currently she is do- ing the influences of collecting and exhibiting

69 on formation of identity; and possible ways to. At the department of Cultural Science, of using heritage and museums as tools for Moa was also employed as a Supplement addressing societal phobias in Western Bal- Instruction teacher for first year students kans.From October 2010 until June 2011 she between 2009–2010. Moa is very engaged in worked as Teaching Assistant at the Faculty gender theories and have been part of many for Philosophy, at the department for Art His- social initiatives and cultural projects work- tory. Currently she is doing an internship as ing towards gender equality. Moa is now an assistant curator in the Tropenmuseum in a MA student of Museology at Reinwardt Amsterdam, as a part of a project team, that is Academy in Amsterdam. From May 2012 developing Cultural Diversity and Social In- until August she is doing an internship in a clusion Strategy for the museum. In 2012 she project on the topic of conscription and it’s participated in the workshop three-day New shaping of identity and masculinity, at the Trends in Museology, in Celje, Slovenia and in Army Museum in Stockholm, Sweden. The International Summer School of Museology project is interdisciplinary, with Historians, in Piran, Slovenia. Ethnologists, and Gender Studies Academics working together with informants and source material on behalf of the museum. johansson, moa

Moa Johansson holds a BA from Lund Uni- vacca, sandra versity, Sweden, where she majored in Cul- tural Science and History. In 2010 she de- Sandra Vacca studied History of Art, His- fended her thesis on the topic of museum tory and Museum and Gallery Studies in semiotics and narratology, based on a case Lyon, Durham and St Andrews. After her study where museum’s inclusive potentials Master degree, she became Curator of the St were measured on the different kind of label- Andrews Preservation Trust Museum (Scot- ling that the museum’s in question subscribed land) where she organized exhibitions on

70 various topics (Migration, Art in St Andrews zannoni, federico etc.). Between 2009 and 2012, Sandra gave seminars at the faculty of Human Sciences of I was born in Sassuolo (Modena) on 25 July the University of Cologne in Germany (on 1981. Since 2010, I’m attending my PhD in Arts and Politics, Migration and Art, Mi- Education, at the Department of Education, gration Museums). In 2010–11, she became University of Bologna. Since 2008: I’m in the academic assistant at the historical institute research group of Intercultural education of of the University of Cologne. In 2011, she my department and Professor’s assistant for co-organized a tri-national summer school didactic, tutorial and research activities. My on the topic ‘Migration and Museums’. Re- research’s interests are related to some themes cently, she collaborated to the elaboration of of intercultural and social education: ethnic an audio guide for the Museum of the City of and cultural stereotypes and prejudices; inter- Cologne (Project Blickwinkel) which brought cultural education at school; immigrant writ- the topic ‘immigration’ to the museum from ers; second generation of immigrants; cultural, an unusual perspective. Since October 2011, social, religious and ethnic conflicts and their Sandra has been working at her PhD in management. I have done several lectures History, which is entitled ‘Remembering, at the universities of Bologna, Florence and Narrating and Representing Immigration. Kazan and published several articles on in- Immigration Museums and Exhibitions in tercultural education in academic journals in Germany, France and the UK’ (supervised Italy, Romania and Russia. I am a member of by Prof. Jakob Vogel from Sciences Po Paris, GRAMNET and ESTIDIA (European Soci- Prof. Ralph Jessen from the University of ety for Transcultural and Interdisciplinary Cologne and Prof. Klaus Schneider, director Dialogue). of the Rautenstrauch-Joest Museum). She is a scholarship holder at a.r.t.e.s. Research School, the University of Cologne’s graduate School of Arts and Humanities.

71 72 ææ sir charles wilson building 1 University Avenue

73 Polimi – Politecnico di Milano, Italy (Coordinator) Department of Architectural Project (DPA): New Museography. Department of Industrial Design, Arts, Communication and Fashion (INDACO): DeCH-Design for Cultural Heritage Major Competences: Museography & Exhibition Design Key Members: Luca Basso Peressut, Gennaro Postiglione

Ciid – Copenhagen Institute of Interaction Design, Denmark Major Competences: ICT for Interaction Design Key Member: Simona Maschi

Cnr – Consiglio Nazionale delle Ricerche, Italy Institute for Industrial Technologies and Automation (ITIA) Major Competences: ICT for Design & Research Management Key Member: Marco Sacco

GU – University of Glasgow, United Kingdom History of Art, School of Culture and Creative Arts (HoA) Major Competences: Cultural Heritage Informatics, Museum Studies Key Member: Perla Innocenti Macba – Museu d’Art Contemporani de Barcelona, Spain Major Competences: Museum Key Members: Bartolomeu Marí, MeLa Davila

Mnhn – Muséum National d’Histoire Naturelle, France Musée de l’Homme, Department «Homme, nature, société» (DHNS) Major Competences: Museums Key Member: Fabienne Galangau Quérat, Laurence Isnard

Rca – The Royal College of Art, United Kingdom Department of Curating Contemporary Art (CCA) Major Competences: Curatorial Art Practice Key Member: Mark Nash

Unew – Newcastle University, United Kingdom The International Centre for Cultural and Heritage Studies (ICCHS) Major Competences: Museum Studies Key Members: Christopher Whitehead, Rhiannon Mason

Uno – L’ “Orientale”, University of Naples, Italy Department of American, Cultural and Linguistic studies (DACLS) Major Competences: Cultural & Social Studies Key Member: Iain Chambers project partners  POLIMI – Politecnico di Milano, Italy (Coordinator) Department of Architectural Project (DPA)/New Museography, Department of Industrial Design, Arts, Communication and Fashion (INDACO)/DeCH  CIID – Copenhagen Institute of Interaction Design, Denmark  CNR – Consiglio Nazionale delle Ricerche, Italy Institute for Industrial Technologies and Automation (ITIA)  GU – University of Glasgow, United Kingdom History of Art, School of Culture and Creative Arts (HOA)  MACBA – Museu d’Art Contemporani de Barcelona, Spain  MNHN – Muséum National d’Histoire Naturelle, France Musée de l’Homme, Department «Homme, nature, société» (DHNS)  RCA – The Royal College of Art, United Kingdom Department of Curating Contemporary Art (CCA)  UNEW – Newcastle University, United Kingdom The International Centre for Cultural and Heritage Studies (ICCHS)  UNO – L’ “Orientale”, University of Naples, Italy Department of American, Cultural and Linguistic studies (DACLS) project coordinator prof. Luca Basso Peressut, POLIMI/DPA project manager dr. Marco Sacco, CNR/ITIA technical manager prof. Gennaro Postiglione POLIMI/DPA www.mela-project.eu | [email protected]

legal notice The views expressed here are the sole responsibility of the authors and do not necessarily reflect the views of the European Commission. project duration: March 1, 2011 – February 28, 2015 coordinating organisation: Politecnico di Milano IT project no: EU FP Grant Agreement No 266757 research area: SSH-2010-5.2-2 contract type: collaborative project

graphic design graphic adaptation: hstudio — Venezia illustration credits Alessandro Antonuccio: p. ii. Perla Innocenti: p. 8. University of Glasgow: p. 4; p. 6; p. 10; p. 15; p. 16; p. 49; p. 50; p. 65; p. 65; pp. 72-73.

3 RF03 - International Conference Migrating heritage: networks and collaborations across European museums, libraries and public cultural institutions 3–4 December 2012, Glasgow, UK www.mela-project.eu

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