Here - EMEE – Young Scenographers Contest

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EMEE YOUNG SCENOGRAPHERS CONTEST
C ATA L O G U E O F T H E T R A V E L L I N G E X H I B I T I O N
EMEE
YOUNG SCENOGRAPHERS CONTEST
C ATA LO G U E O F T H E T R AV E L L I N G E X H I B I T I O N
With the support of the Culture Programme of the European Union.
CONTENT
1
INTRODUCTION
5
2ND RUNNER UP
1.1
EuroVision – Museums Exhibiting Europe ––– 9
5.1
A home-made Lasting Peace? ––– 83
1.2
EMEE Young Scenographers Contest ––– 13
5.2
A Snapshot of Europe ––– 85
5.3
Around the Bell-Beaker ––– 87
Back to the Future ––– 89
2
PROLOGUE
5.4
Nos ancêtres les européens
5.5Camouflage ––– 91
Our Ancestors the Europeans
––– 19
WINNERS
5.6
Common Communism? ––– 93
5.7
Euro Ludo ––– 95
5.8
Europe – Emotion of Life ––– 97
3.11st Prize: Did you hit the Jackpot? ––– 27
5.9
Glück Auf ––– 99
3.22 nd
5.10Home
3
Prize: (Art) Europallet ––– 33
––– 101
3.33 rd Prize: Contemporary Witness Olivetti M40 Kr. ––– 39
5.11
Iconic < Sun > Protest ––– 103
3.44 th Prize: Worth It
5.12
Into the World of the Plate ––– 105
5.13
Museum without Borders ––– 107
5.14
Orient and Occident
5.15
Second Look ––– 111
4.2Euromotion ––– 57
5.16
The little Mermaid ––– 113
4.3
5.17
Veni – Vidi – Victus* ––– 115
5.18
What the Bell?! ––– 117
––– 45
4
1
4.1
Digital Mayas Create Virtual Calendars
ST
RUNNER UP
Multifunctional Antiquity ––– 61
4.4Mystery ––– 65
––– 53
––– 109
4.5Panscire ––– 69
4.6
Type.writing Europe ––– 73
6
EPILOGUE
4.7
VYMAS H ––– 77
Scenographic Branding as a New Method and Creative
Tool for Museums
7
IMPRINT
––– 121
––– 125
CONTENT
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INTRO
DUCTION
EUROVISION – MUSEUMS EXHIBITING EUROPE
The “EuroVision – Museums Exhibiting Europe”(EMEE)
project explores an innovative interdisciplinary
approach for national and regional museums to reinterpret their objects in a broader context of European
and trans-national history. The necessary theoretical
and practical framework is developed, put into practice
and evaluated by an international, trans-sectorial
network bringing together the creative excellence of
museums, cultural workers, scientists and designers.
The EMEE project is being realized between
2012 and 2016 and funded by the Culture Programme
of the European Commission. The aim of the project
is to advance the modernization of museums by reinterpreting museum objects and topics from a transregional European perspective as well as by innovative
mediating approaches. Thereby, especially national
and regional museums shall be encouraged to try out
new ideas and concepts through which a timely
orientation of the institution “museum” in today’s
intercultural, heterogeneous society can be furthered.
The EMEE project provides ideas and concepts
that can help to attract non-visitors to cultural offerings
(bridging-the-gap), shows ways to change the role of
8
museums in the society (social arena), and introduces
methods how to invite so called non-visitors. It is one
of the focus points of the EMEE project to bring the
non-visitors and the museums closer, inviting them
to start a multicultural dialogue. The interdisciplinary
project is based on the expertise of the following
groups: museum professionals, scientists and
university specialists, experts for mediating culture
and museum studies, scenographers, designers and
cultural producers.
The EMEE project consortium consists of eight
partners representing seven European countries.
—— Coordinator: Chair of History Didactics of the
University of Augsburg (Germany)
—— ATELIER BRÜCKNER GmbH, Stuttgart (Germany)
—— National Museum of History, Sofia (Bulgaria)
—— University Paris-Est Créteil – ESPE, Paris (France)
—— Roma Tre University, Rome (Italy)
—— National Archaeology Museum, Lisbon (Portugal)
—— Museum of Contemporary History, Ljubljana
(Slovenia)
—— art association monochrom, Vienna (Austria)
9
INTRODUCTION
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10
that visitors with a migration background can
contribute their view on objects. By expanding the
scope of interpretation the objects can at the same
time become more interesting to a wider circle of
visitors. The suggested activities in line with the
“bridging-the-gap” approach (bridge cultural and social
divides) can thus also contribute to audience
development.
3. COP in the process of international cooperation:
The third change of perspective aspires the broadening
of the view by internationalization: only in an
internationally comparative perspective new, changed
interpretations of objects become possible. Moreover,
establishing international networks facilitates
cooperation between museums of different countries.
The museum institution is a place where the
visitors can actively exchange ideas and share their
interests. In order to implement the “Change of
Perspective” concept, the EMEE partners in the
project developed so called toolkits. These manuals
aim to mediate between theory and practice and to
offer all interested museums inspiration and ideas for
innovative and creative concepts that support the
modernization and internationalization of museum
activities.
—— Toolkit 1: Making Europe visible.
Re-Interpretation of Museum Objects and Topics.
—— Toolkit 2: Integrating multicultural Europe.
Museums as Social Arenas.
—— Toolkit 3: Bridging the Gap. Activation,
Participation, and Role Modification.
—— Toolkit 4: Synaesthetic Translation
of Perspectives. Sketchbook – Scenography.
—— Toolkit 5: Social Web and Interaction.
Social Media Technologies for European National
and Regional Museums.
Besides those toolkits the EMEE project has
further outcomes, which can be found on the project´s
website: www.museums-exhibiting-europe.eu
—— EMEE Young Scenographers Contest
—— Travelling exhibition presenting the results
of the EMEE Young Scenographers Contest
—— EuroVision Lab.s taking place at all partner
institutions
—— Workshop and study modules for further training
purposes related to the toolkits
—— Exemplary COP-units presenting some case
studies related to the toolkits
—— Mapping process of best practice examples
All outcomes are related to the “Change of
Perspective” and the EMEE motto “One Object –
Many Visions – EuroVisions”.
11
INTRODUCTION
“Change of Perspective” (COP) is the basic concept
of the EMEE project developed by the discipline of
History Didactics. It consists of three aspired changes
of perspectives:
1. COP as European re-interpretation of objects: The
first change of perspective refers to the new
interpretation of museum objects from a trans-regional
European perspective. Objects shall no longer be
presented in one-dimensional contexts of meaning,
but perceived in a differentiated way through conveying
several levels of meaning in multiple perspectives
that are demonstrated in a parallel way.
2. COP as change of perspective between museum
experts and visitors: The second change of perspective
refers to a change in the relation between museum
experts and visitors. In reflecting on the museum’s
traditional role as scientifically interpreting authority
and in inviting visitors to participate by means of
different approaches old patterns of thought can be
overcome and new, contemporary forms of museum
work can be developed. From a trans-regional
European perspective this can, for instance, mean
The EMEE Young Scenographers Contest with the
motto “One Object – Many Visions – EuroVisions”
is an international and interdisciplinary design
competition and part of the research project EMEE.
The core idea was the EMEE concept “Change of
Perspective” (COP), a method for re-interpreting
objects and object groups revealing the complex
diversity of meanings. Responsible for the concept,
organization and implementation of the contest were
Linda Greci and Uwe R. Brückner from ATELIER
BRÜCKNER.
International students and young professionals
of design, scenography, architecture and other
creative disciplines, as well as museum and cultural
studies were invited to create ideas and develop
design concepts for staging museum objects and
topics in a trans-regional European context applying
the EMEE concept of COP. This way the simultaneous
appreciation of objects as elements of the local,
regional, national and European culture heritage can
be experienced. At the same time the goal was to
find new trans-cultural approaches for contentconsistent design concepts and new, contemporary
formats of presentation. The contest also aimed to
experience the perception of young and ambitious
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designers: how do the younger generation perceive
Europe? How would they approach European cultural
heritage? Which objects would they choose, and how
would they present them within a European context?
The assignment of the task was to develop a
holistic scenography and to generate a synaesthetic
translation of perspectives – from content into space.
The partners of the EMEE project selected, prepared
and proposed different museum objects with European
references and cross-cultural meanings. The objects
were offered on the contest webpage to be
downloaded and used as inspirational suggestions.
But the participants were also given the possibility
to come up with other topics of European relevance
like music, migration, nutrition, literature, language,
and so on, as well as the respective objects with
European dimension and multiple perspectives. Part
of the assignment was to think about an authentic
space that forms a harmonious unit with the exhibition
concept. The space could be an existing exhibition
space of an actual museum, or a newly designed
modular and mobile travelling pavilion for indoor or
outdoor positioning, which can travel to various
European countries.
13
INTRODUCTION
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14
Academy of Art and Design, FHNW, in Basel. The jury
discussed and judged the 29 pre-selected entries and
nominated four projects for the EMEE Young
Scenographers Award. The evaluation criteria for the
jury were:
—— Content: making new, trans-national European
dimensions visible in a local/regional/national
museum object, and creating a “Change of
Perspective”
—— Scenography: synaesthetic translation of perspectives generating multiple access to an
object or topic
—— Concept: quality, consistency and clarity
—— Innovation: creativity, innovative idea and
contemporary design approach
—— Presentation: quality and readability
of presentation
—— Pavilion or architecture: quality and impact
of space
The jury of the contest consisted of an international
and interdisciplinary board:
JURY CHAIRMAN Prof. Dr. h.c. Ruedi Baur, designer,
Integral Ruedi Baur, Institut Civic city, Zürich,
Switzerland / Paris, France JURY LEADER AND COORDINATOR Linda Greci M.A.,
ATELIER BRÜCKNER, Stuttgart, Germany JURY MEMBERS: EXTERNAL EXPERTS Frank den
Oudsten, designer, teacher, writer, performer, The
Netherlands — Prof. Dr. phil. Pamela C. Scorzin, critic
and professor of Art History & Visual Culture Studies,
Fachhochschule Dortmund, Germany — Univ. Doz.
Dr. Karl Stocker, Head of Institute Design and
Communication, FH JOANNEUM, University of
Applied Sciences Graz, Austria.
JURY MEMBERS: EMEE PARTNERS Prof. Uwe R.
Brückner, creative director, ATELIER BRÜCKNER,
Stuttgart, Germany — Prof. Dr. Susanne Popp, Chair
of History Didactics, University of Augsburg, Germany
— Prof. Emma Nardi, ICOM Ceca President, University
Roma Tre, Rome, Italy — Univ.-Lekt. Mag. Günther
Friesinger, monochrom, Vienna, Austria — Prof. Dr.
Kaja Širok, director, National Museum of Contemporary
History, Ljubljana, Slovenia — Ass. Prof. Dr. Valentina
Ganeva-Marazova, National Museum of History, Sofia,
Bulgaria — Prof. Dr. Luis Raposo, National Museum
of Archaeology, Lisbon, Portugal — Christophe
Le François, visual artist and professor, University
Paris-Est Créteil, ESPE, Paris, France.
Our deep thanks goes to all jury members for their
personal engagement and professional contribution.
The public awards ceremony took place within
the Designmonat Graz on the 7th of May 2015, in
cooperation with the FH JOANNEUM and the Museum
im Palais, in Graz, Austria. Four entries were awarded
the EMEE Young Scenographers Award:
1ST PRIZE 2.000 € — 2ND PRIZE 1.000 €
3RD PRIZE 750 € — 4TH PRIZE 500 €.
The catalogue of the travelling exhibition
presents the competition shortlist of 29 projects that
were evaluated during the jury meeting: the winners
(place 1–4), the 1st runner up (place 5–11) and the 2nd
runner up (place 12–29). It aims to give an insight into
the creative and sophisticated design concepts of the
international participants coming from different
disciplines. The catalogue accompanies the exhibition
that presents the eleven best projects of the
contest – the winners and the 1st runner up – to an
international public, and that travels to different
European cities: Ljubljana, Sofia, Lisbon, Paris,
Brussels and Basel. (More information about the
EMEE Young Scenographers Contest on the website:
www.emee-young-scenographers-contest.eu)
15
INTRODUCTION
The symposium “One Object – Many Visions –
EuroVisions” was the kick-off event of the contest,
and took place on the 31st of October 2014 at the
Staatliche Akademie der Bildenden Künste Stuttgart.
It served as an international discussion platform on
the topic of “How to Make Europe Visible in the
Museum?” giving inspiration and ideas. Internationally
renowned speakers from different disciplines
(designers, curators, scientists, museologists,
historians) were invited to share their experiences.
The EMEE Young Scenographers Contest was
a very successful and inspiring competition, with more
than 100 registrations and 60 submissions of
innovative and content-consistent design proposals;
most of them with a courageous and experimental
approach to the assignment of task. The students
who took part came from different creative disciplines
and universities all over Europe: Basel, Graz, Hasselt,
Hildesheim, Berlin, Ljubljana, Potsdam, Kiel, Lisbon,
Karlsruhe, Sofia, Utrecht, Mainz, Coburg and others.
During the pre-selection, 29 projects out of 60
entries were nominated for the shortlist to be
evaluated at the jury meeting of the EMEE Contest
that took place on the 20th of February 2015 at the
Institute for Interior Design and Scenography,
PRO
LOGUE
RUEDI BAUER: NOS ANCÊTRES LES EUROPÉENS
O U R A N C ESTO R S TH E EU R O P E A N S
------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------
NOS ANCÊTRES LES EUROPÉENS
Ruedi Baur
Paris, avril 2015
Malgré la qualité conceptuelle et plastique des propositions élaborées par ces étudiants en scénographie
venants des quatre coins du continent, je ne suis pas
toujours sûr que l’enjeu du concours ait véritablement
été cerné. L’exercise qui leur était proposé relevait
d’une réelle révolution par rapport à la perception
actuelle de l’histoire. Il ne s’agissait donc pas uniquement de rendre les musées accessibles à tous en
cultivant le multilinguisme et des explications qui
tiendraient comptes des lacunes de visiteurs venant
de loin, mais de dépasser le syndrome que j’intitulerais « nos ancêtres les gaulois ». Il évoque le temps
où les enfants des colonies françaises, devaient
suivre, bien entendu pour leur plus grand bien, les
programmes d’histoire du pays les ayants envahis.
D’autre pays colonisateurs procédaient de manière
guère différente, s’ils se donnaient même la peine
d’éduquer ces êtres qu’ils considéraient comme des
sauvages. Mais au delà de cette terrible réalité coloniale, le syndrome du « nos ancêtres » permet
d’aborder un autre aspect dans lequel nous baignons
encore aujourd’hui.
18
PROLOGUE
O U R A N C ESTO R S TH E EU R O P E A N S
Paris, April 2015
Regardless of the conceptual and plastic qualities
of the developed proposals by scenography students
from all four corners of this continent, I am not quite
certain whether the competition’s deeper meaning
has been entirely decoded. The offered exercise
was downright a revolution in the face of the current
perception of history. The point was not only to make
museums accessible to everyone by cultivating
multilingualism and offering explanations incorporating
knowledge gaps of visitors coming from afar, but
also about a syndrome I personally call “our ancestors
the Gaul”. It is evocative of times when children of
former French colonies – needless to say for their
own good – had to study their conqueror’s history.
In other colonies it proceeded not much differently
by striving to educate those “creatures” at that time
considered savages. But this terrible colonial reality,
the syndrome of “our ancestors” enables me to
speak about another aspect still being part of our
everyday life.
19
20
In order to illustrate this further, I will apply
the example of news often accompanying accidents
and catastrophes. In death-notices reflecting the
number of victims and distinguishing them by pure
nationality, some are, in comparison, more or less
bluntly labelled as foreigners. These strange victims
are not quite as grieved for as those having the same
nationality – because they do not have the same
ancestors, even though they have been living in the
same country for a long time, in which they incidentally
do not even have suffrage… Such daily racism or
manner of regarding the rest of the world depending
on their own nation by creating hierarchies of virtue
between varying people on Earth, in the means
of certain criteria is unfortunately still deeply enrooted
in our society today. The French adage “tout le
monde” – roughly “everybody” – has not managed
yet to be implemented on the level of “whole Europe”.
All of this would be irrelevant if Europe’s division
during the 19 th century and the building of nations
was not only a question of narration, based on a rapid
summary of history and particularly relying on
orchestration. The big universal exhibitions are indicating
this nevertheless, they are only representing part of
our “brand of territory”. This reactionary building
des Nations, ne se définissait pas sur la notion de
contrat mais bien de territoires dont il fallait expliquer
la cohésion à l’aide d’histoires plus ou moins réelles
et dont il fallait tirer les traits symboliques. Que cette
mise en scène de l’origine lointaine et fondatrice de
la Nation ne soit pas en cohésion avec son extension
coloniale, n’importait pas, même si le « nos ancêtres »
s’y voyaient employé. Les contradictions ne manquent
pas dès qu’on s’approche de la propagande. Les stratégies de brands territoriaux actuels ne feraient pas
mentir cette analyse du passé. L’important est d’emporter le citoyen dans une narration qui le concerne
avec pour objectif qu’il s’y retrouve, qu’il croit en
l’histoire et qu’à partir de là celle-ci puisse être vécue
communément.
Tout ceci ne serait pas très grave si ces histoires
ne se construisaient pas sur le « nous » qui définit
automatiquement un « eux » excluant, dont on a vite
fait de faire des ennemis. Facile sur cette base à des
extrémistes de pousser les traits de l’histoire et
d’appeler à l’exclusion ou même à l’extermination
de ceux qui rendent hétérogène le « nous », voir
de renforcer le sentiment de cette appartenance
en déclarant la guerre militaire ou économique à
ces « eux » qu’il s’agit d’affaiblir, voir d’envahir.
of nations cannot be characterized as a treaty but
as a declaration of territories whose cohesion is based
on more or less real events and around which
symbolic lines were drawn. That the orchestration of
the remote origin and founding of nations was
not associated with its colonial distribution was not
relevant, although the “our ancestors”- saying has
been used there. It doesn’t lack contradictions when
approaching propaganda. This analysis of our past
could at least not be questioned within the
contemporary “brand of territory” strategies. It is
important to include associated citizens into this
narration with the purpose of allowing them to find
themselves in it, in order for them to believe in their
history and be able to experience it mutually from
this specific moment on.
All of this would not be quite as serious, if these
stories were not founded on a “we”, which automatically
leads to an excluding “others”, which rapidly creates
enemies. On this foundation it is easy for extremists
to hyperbolise the shape of history and to call for
exclusion or even the elimination of those people
heterogeneously representing “us”, to aspire reinforcing
allegiance via declaration of military or economic
wars and to humiliate those who believe in “us”.
21
PROLOGUE
Pour l’illustrer j’utiliserai l’exemple de ces messages qui accompagnent accidents ou catastrophes.
Tristes annonces qui dénombre le nombre de victimes
en distinguant celles de leur propre nationalité par
rapport aux autres plus ou moins ouvertement intitulé
d’étrangères. Celles-ci, font bien entendu nettement
moins pitié puisque n’ayant pas les mêmes ancêtres,
donc moins importantes, même si elles habitent
depuis longtemps le pays, d’ailleurs si elle n’ont pas
le droit de vote… Ce racisme ordinaire ou cette manière de regarder le monde depuis sa Nation en créant
des hiérarchies de valeur parmi les humains de la
planète en fonction de certains critères se trouve
malheureusement encore très fortement ancré dans
nos sociétés. Le « Tout Monde » d’Edouard Glissant
n’arrive même pas encore s’appliquer au niveau du
« Tout Europe ».
Tout ceci serais hors sujet si la division de
l’Europe au 19ième siècle et la construction des
Nations n’était pas une question de narration, de revisite très sommaire de l’histoire et surtout de mise
en scène. Les grandes expositions internationales en
témoignent, mais elles ne constituent la part la plus
visible de ce que nous intitulerions aujourd’hui du
Brand territorial. Cette construction réactionnaire
22
The catastrophes of the 20 th century can optimally
be explained by the artificial construction of the
“brand of territory” during the 19 th century. In this
spirit Europe represents an important opposition when
it comes to the distribution of this disturbing “us”.
But our recent history shows us how difficult this
understanding remains and also how far away it really
is from the reasoning of those protagonists involved.
The subject of this extremely important
competition concerning Europe really consists in
introducing a different perception of the history of
this continent, without always coming back to the
same simplifications and appropriations that would
exclude new “others”. This exercise thus consists in
a different manner of viewing history by speaking
of mutually used objects and connections between
them rather than speaking of their identity or their
difference. However, the virtual question is not only
the choice of the exhibited objects but also how they
are displayed and orchestrated. In this specific case,
invention becomes necessary. How can one enable
the combination between the formerly discussed “we”
on a national and regional level that still exists (if it
hasn’t even become worse) in order to regard a single
object as a witness of history with this ensemble of
Comment passer de l’affirmation au questionnement, du monologue au débat, de l’égocentrisme
à la relation de ce « tout monde ». Comment travailler
ainsi l’histoire visible et invisible de ce continent qui
mélange le meilleurs et le pire.
Lors du jury, je me suis demandé quel thème
j’aurai pour ma part abordé. Il faut toujours se mettre
dans la place des candidats. Bien que le choix des
objets était imposé et au risque d’être exclus, j’aurais
choisi la roulotte tzigane. Symbole par excellence de
notre difficulté d’accepter la différence, symbole du
passage des frontières, symboles de vrais européens.
Raconter l’histoire de l’Europe en partant de cet objet
aurait permis de circuler à travers de nombreux pays,
d’évoquer les moments les plus terribles de l’histoire
du continent, de similitude racistes qui relient l’histoire
lointaine au comportement de nos ministres actuels.
Bref de faire remonter l’une des tristes ombres du
continent qu’il s’agit enfin de dépasser. Les propositions que nous eurent à juger furent plus consensuelles, moins dérangeantes, avec, je le répète, de
réelles qualités plastiques et conceptuelles. Est-ce
que cela suffit pour changer notre perception de
l’Europe ?
contrasts and contradictions? How can one manage
to convert pretension into questioning? How can one
eventually process the history of this continent –
between the visible and invisible – that combines the
very best with the worst?
During this jury I have come to wonder which
subject I would have chosen. One has to be able to
put oneself in the candidate’s place. Despite the
obligation concerning the choice of objects I would
have chosen the gypsy carriage, being a perfect symbol
of our difficulties to accept differences, as a symbol
of crossing frontiers, as a symbol of real Europeans.
To recount European history through this object would
have permitted to cross many countries, to recount
the worst times of this continent, to speak of racist
behaviour which links our past with the attitude
of our present-day’s ministers. Now, finally, it is time
to depict the dark sides of our continent in order to
be able to antagonise them. The proposals we came
to judge were rather mutual, which didn’t bother,
but – I have to repeat – of real conceptual and
plastic quality. But is this enough to change our view
of Europe?
23
PROLOGUE
Les désastres du 20ième siècle s’expliquent fort bien
par ces brands territoriaux construits artificiellement
au 19ième. L’Europe constitue en ce sens une importante tentative de dépassement de cette
logique de ces « nous » destructeurs. Notre histoire
récente montre à quel point pourtant cette reconsidération reste difficile et éloignée des esprits de la
plupart des acteurs en présence.
Le sujet de ce concours extrêmement impotant
par rapport à la question de l’Europe consiste donc
bien à introduire une autre perception de l’histoire de
ce continent sans retomber dans les mêmes simplifications et les mêmes appropriations qui excluraient
de nouveaux « eux ». L’exercice consiste donc à expérimenter une autre manière de regarder l’histoire en
partant d’objets partagés, d’objets relations plutôt
que d’objets identités et d’objet distinctions. Mais la
réelle question ne relève pas tant du choix de ces
objets exposés, que de la manière dans laquelle ils
verront relaté et mis en scène. Car c’est bien là que
l’invention est nécessaire. Comment juxtaposer entre
eux ces « nous » nationaux et régionaux encore bien
vivants, si ce n’est même exacerbés, pour regarder
avec l’ensemble de ces contrastes et contradictions
un même objet témoin de l’histoire.
DID YOU HIT THE JACKPOT?
WINNERS
(ART) EUROPALLET
CONTEMPORARY WITNESS OLIVETTI M40 KR.
WORTH IT
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1ST PRIZE: DID YOU HIT THE JACKPOT?
A M U LT I - P E R S P E C T I VA L E X H I B I T I O N O N G U E S T L A B O U R I N T H E P O S T- WA R P E R I O D
The issue of “guest labour” has to be faced anew in
the light of the current domestic and foreign policy
discussions in Europe. Starting with the Europe-wide
guest labour movement into the Federal Republic
of Germany in the post-war period, the exhibition
extends to the here and now. A web of five biographies
forms the basis of the exhibition and allows a multiperspectival view on this chapter in history through
spatial interlacing. A raffle, staged as performance
forms the epilogue. An historical event which links
five people from all over Europe is the starting point
of the exhibition. On September 10th 1964, the lot
falls on Armando Rodrigues de Sà; he is selected as
the millionth guest worker and presented with a
“Zündapp Sport Combinette” moped. Four further
guest workers unexpectedly became famous this way.
Due to its structure, the exhibition “Did you hit
the Jackpot?” allows for a game with different
perspectives. The five biographies entwine and unfold
as spatial narrative strands, bundle in certain phases
of life – to then untangle yet again. But what is
perspective anyway? A perspective is a position
resulting from one’s own point of view. A change of
perspective can only be effected based on a spatial
change or alternatively due to a change that
originates from a new insight. In order to translate a
change of perspectives into the exhibition content,
the recipient needs various connecting factors and
references in order to be able to grasp the museum
object in the context of its European significance.
This is the reason why the narrative strands are not
only designed as temporally and personally coherent,
stand-alone chains of events, but rather refer to the
political and historical dimension of the event by
means of embedding and punctual interruptions in
the form of theme rooms. Showcase strips serve as
the narrative element of the strands.
At the start of the exhibition, a lot is drawn
which later on discloses the visitor as potential
winner. First of all, the lot assigns a biography. It is
at the discretion of the visitors if they prefer to
follow it in a linear way or to change to one of the
others biographies. In accordance with the visitors’
interests, they choose their focus and individual way
EXHIBITION OVERVIEW
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WINNERS
Mirjam Scheerer
Interior Design and Scenography, Academy of Art and Design, FHNW, Basel
»The project reflects the Europe-wide labour
migration movement making the visitor playfully aware
of a multi-facetted historical event. The topic is smartly
and impressively translated from a personal, individual
level, into a collective, European issue and at the
same time from content into space: Five individual
biographies offering five perspectives represent the
storytelling and the spatial structure of the exhibition.
Five thematic rooms act as intersections symbolizing
joint phases of the biographies and of the labour
migration movement in general. The holistic and
content-generated scenography of the exhibition makes
the “Change of Perspective”, as required by the EMEE
principles to be physically and emotionally experienced.
The free flow parcours perfectly supports the exhibition
concept and makes the visitor change the perspective.
The project accomplished in a very subtle and
contemplative way to make the visitors reflect on the
question “Did you hit the jackpot?” while confronting
him with the reference object “Zündapp Sport
Cabinette”. This extraordinary and sophisticated
project with its narrative strength and potential for a
synaesthetic COP convinced the jury best of all.
Congratulations for the 1st prize. Jury comment
WINNERS
through the exhibition. The life stories of the five
guest workers and their geographical, topical
entanglements are the basis for the space-forming
structure. These are showcase walls displaying
country-specific information and cross, overlap and
complement each other. The joint life phases represent
intersections in the form of theme rooms (Labour
market, Political system, Home, Recruitment, Goodby)
where joint aspects of life, motivations and reasons
to migrate are treated in depth. The visitors follow
the story of guest labour and in the end excitedly
anticipate if they had a lucky lot and may rejoice with
the main prize. The ambiguity of this event that is
inspired by the historical example is disclosed; it is
debunked as mere media staging. In order to announce
the draw, a fanfare sounds. Following an excessive
show and in the flurry of flashlights, the lucky winner
receives the prize: An exclusive pillion ride on an
original “Zündapp Sport Combinette” moped.
The exhibition sensitises the recipients for
current European discussions and provides them with
argumentative foundations from the different life
stories. This exhibition concept playfully invites the
visitor to changes of perspective: Only with a different
view of a topic, can opinions be changed.
«
SHOW CASE STRIP — LIVING ROOM: ON ZVONIMIR'S SPATIAL NARRATIVE STRAND — FLOOR PLAN
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WINNERS
ZVONIMIR'S SPATIAL NARRATIVE STRAND
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2 ND PRIZE: (ART) EUROPALLET
T H E F I R S T EU R O P E A N P R O D U C T ?
As the railway was established as a major means of
transportation throughout Europe it dominated the
transport economy. Until the middle of the 20th century
it was common practice to transport goods as general
cargo or piece goods. Single pieces of cargo such
as crates, barrels or wicker bottles were not bound
together to bigger units. This led to long loading times,
a substantial effort concerning (man)power, time and
financial resources as well as a suboptimal use of
cargo space.
In the 1950s several European railway
companies began to accept wooden pallets as carriers
for goods. The pallets enabled companies to bundle
individual pieces of cargo logistically into bulk units
thereby alleviating aforementioned drawbacks of
general cargo. Since the pallets were property of the
railway company and differed in size they had to be
returned to their owners after delivery. This, in turn,
led to inefficient back hauls and the desire to develop
standardized pallets.
In 1961 a deal was struck between several
European railway companies in order to introduce a
standardized, swappable loading aid. The affiliates
of the European Pallet-Pool signed a contract, which
obliged them to satisfy norms concerning the
production and reparation of pallets. Thus the first
European product - the Europallet, was born.
To support the project, a special (Art)Europallet
was supplied by the Universalmuseum Joanneum
(Graz, Austria) from their own stock. Museums treat
the Europallets with nitrogen to cleanse them from
vermin and apply the letters “KUNST” (art) on two of
the inner blocks to mark them safe for transporting
art. The installation features this (Art) Europallet as
centrepiece. It is hung from the ceiling and meets the
observer at eye level. It “floats” in space and can thus
be circled and viewed from all sides. To have another
variation in the way of presenting the object, the pallet
can also be hung at seat height. The visitor can take
a seat and use the Europallet as a swing. A standardized
Europallet is composed of five components – top
board, bottom board, stringer board, block and nail.
INSTALLATION OF THE (ART) EUROPALLET FROM THE BIRD‘S EYE VIEW
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WINNERS
Stephanie Gindlstrasser and Johanna Köttritsch
Design & Communication / Exhibition Design, FH Joanneum, Graz
»The “(Art) Europallet“ as the centrepiece of
the installation is a bold, amazing object choice. It is
expressively set in the scene in an unusual way:
It “floats” in the space, meets the visitor on eye level
and lets him experience new points of view. “(Art)
Europallet“ deals with the fact that the daily carrier,
which represents standardization in contemporary
European culture, is turned into a migrant protagonist.
This symbolic transformation of the daily object of
use in museums into a metaphor of “migration” is
fulfilled within a very subversive low-key approach.
The dismantling of the object in its five components
and their labeling with QR codes is a sophisticated
idea in the sense of EMEE to virtually provide the
visitors with more information and to present multiple
perspectives of the trans-regional object. The installation
reflects the broad European impact of the Europallet;
supports the central idea of the EMEE project and
impressively generates a “Change of Perspective“
from a functional product to an artefact of European
relevance. Congratulations for the 2nd prize.
WINNERS
One of each building block is removed from the
displayed object, labelled and presented separately
as well.
Each label contains a QR-code enabling
observers to scan it with their smart device, redirecting
them to a specially designed website. Here, the
observers are presented with different perspectives
using those five components. The top board, for
example, provides essential historical background
on the development of the Europallet and explains
among other facts why a truck trailer measures exactly
13.6 meters. The block points out the connection
between important objects at Universalmuseum
Joanneum and that special (art) europallet, by
combining very different topics, which at first glance
appear to have no connection at all, a unique view
on the different perspectives and the broad impact of
the Europallet is presented to the visitor.
«
Jury comment
EUROPALLET AND “KUNST” BLOCK
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35
WINNERS
INSTALLATION OF THE (ART) EUROPALLET
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3 RD PRIZE: CONTEMPORARY WITNESS OLIVETTI M40 KR.
A N E M OT I O N A L J O U R N E Y T H R O U G H F O U R T Y P E W R I T T E N L E T T E R S
T R E AT I N G T H E E N D O F T H E S E C O N D W O R L D WA R
The exhibition deals with the typewriter Olivetti
M40 Kr. that was produced for the German Armed
Forces during the Second World War and with four
letters that had been typed on it. The visitors immerse
themselves in an emotional journey through the four
letters in stories from the time.
In the exhibition about the legendary typewriter,
the multi-perspectival approach facilitates the
simultaneous activation of several senses, to thus
catch the attention and consequently generate a
strong feeling of a physical experience. The exhibition
aims at a change of perspective. Almost 70 years
ago, on May 8th, 1945, the Second World War ended
with Germany’s capitulation. Throughout the entire
world, people wrote about this unique incident. Four
letters written on a typewriter – possibly an Olivetti
M40 Kr. – tell the story of the end of the war.
—— An Italian cemetery keeper complains to the
Merano parliament about the incorrect burial of
the dignified army aviator Jack Bartman.
—— An American lieutenant describes the tragic
fate of a “lost train” with concentration camp
prisoners.
—— An American soldier writes about a
hand-stitched, improvised American flag in
a letter to his fiancé.
—— And mayor Titze from Regensburg appeals to the
German citizens for a communal reconstruction.
Besides visual presentation, audible loops and sounds
via telephone and radio play an important role in the
exhibition. Through unequal room dimensions, soft
and hard flooring as well as light ambiances, the
physical experience and the individuality of the rooms
is further enhanced. In four prologues, which are
arranged around the typewriter in the centre, the
content of the letters is imparted to the visitor by
different media (radio, telephone, reading, projected
images). In the four theme rooms, the visitor obtains
THE VISITOR STRUGGLES HIS WAY THROUGH THE ROOM WITH A SPONGY FLOOR AND SNATCHES AT IPADS THAT ARE HOVERING IN THE AIR — THE THEME ROOM
ABOUT THE LETTER OF AN HAND-MADE AMERICAN FLAG, THE VISITOR CAN MARVEL AT THE IMPROVISED FLAG WITH MEANS OF A TELESCOPE FROM CLOSE-UP
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WINNERS
Valerie Keusch
◀
◀
▷
D‘
D
▷
C‘
◀
◀
▷
C
◀
B
B‘
Cut D - D‘
◀
◀
A‘
A
▷
the core of the exhibition and represents the starting
point of a journey through four letters treating the
end of the Second World War. The four letters written
from different persons with diverse nationalities make
one and the same historical event able to be experienced
from different and surprising perspectives, which is
one of the basic ideas of the EMEE project. The proposal
shows a smartly arranged floor plan with four main
spaces, each introduced by a prologue displaying a
media installation. The content of the four letters is
adequately translated into a holistic, three-dimensional
presentation by the architectural dimension of the
pavilion, the unequal space dimensions, both merely
rendered in a schematic fashion, and by synaesthetic
means, which marvellously support the intended,
different atmospheres. There is an intimate, poetic
quality embedded in the staging, which allows a deep
reading of the content. “Contemporary Witness Olivetti
M40 Kr.” impressively offers the visitor an engaging
space with a poetic dimension and a transformative
potential. Thus the exhibition becomes an emotional
experience. Congratulations for the 3 rd prize.
WINNERS
»The Olivetti M40kr. typewriter composes
◀
further detailed information on the stories. Here the
visitor can marvel at the self-made American flag with
means of a telescope as well as getting into physical
contact with its components. In another, rather gloomy
theme room within the simulated “crypt”, the visitors
are sealed off and listen to the story of Jack Bartman's
plane crash. In a further theme room, which reflects
the claustrophobic atmosphere of the lost train’s
interior, the visitor obtains information on the lost train
via buttons and media on the sidewalls. And in the
fourth theme room, the visitor struggles through the
room with a spongy floor and snatches at iPads that
are hovering in the air.
By means of this physical implementation, the
difficult reconstruction of Germany is reflected.
Starting from an everyday object – the typewriter –
the visitor unexpectedly finds himself immersed in
an important historical event. Through touching
stories, the visitors delve into the circumstances of
other people. The visitors do not leave the exhibition
more knowledgeable, but with a much more valuable
commodity and an emotional experience.
Cut C - C‘
«
Jury comment
IN FOUR PROLOGUES THAT ARE ARRANGED AROUND THE TYPEWRITER IN THE CENTRE, THE CONTENT OF THE LETTERS IS IMPARTED TO THE VISITOR
BY DIFFERENT MEDIA. IN THE FOUR STAGED THEME ROOMS, THE VISITOR OBTAINS FURTHER, MORE DETAILED INFORMATION ON THE STORIES
40
41
WINNERS
IN FOUR PROLOGUES THAT ARE ARRANGED AROUND THE TYPEWRITER IN THE CENTRE, THE CONTENT OF THE LETTERS IS CONVEYED TO THE VISITOR THROUGH
DIFFERENT MEDIA: VIA TELEPHONE AND VIA RADIO
42
THE CONTENT OF THE LETTERS IS CONVEYED VIA PROJECTED IMAGES AND VIA READING FROM AN AUTOMATICALLY WRITING TYPEWRITER MACHINE
43
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4TH PRIZE: WORTH IT
C U LT U R E S T R A N S F O R M I N G VA LU E
How is worth defined? How do I allocate the value
of the things surrounding me? How much am I
influenced by my environment in doing so?
Emanating from the porcelain Chinoiserie, this
exhibition points out unusual perspectives –
metaphorically and literally – within an intercultural
context. Between entrance and exit the visitor is taken
on a journey during which the central object continually
gains value – through the physical experience of room
atmospheres, the acquisition of information, but mostly
through personal reflection: value through knowledge.
The teacup’s and saucer‘s unusual historical
background – being icons of early European-Asian trade
relations during the 18th century and thus cultural
hybrids – make them very special. Showing the way
the value of an object changes according to factors
such as culture, tradition, time and place of the viewer
is the core of “Worth It”. At the same time the visitors
are challenged to question their own values towards
the objects. Changing perspectives through the
illustration of differing views and positions play a
central role: The exhibition locates various aspects
of the Chinoiserie in-between the four parameters
Imitation, China, Collection and Europe – and realizes
new contexts according to these connections. Initially
seeing the Chinoiserie as a trivial object at eye level,
the visitor is soon confronted with the question of value.
The exhibition‘s open structure enables an
individual spatial experience – though the visitors are
guided along an unconscious circuit, notional links
are maintained through spatial perspectives and
interconnections within the architecture. The
composition of the structure and its raised position
on pillars allow the collection to be independent of a
particular location. This way, the passer-by is drawn
into the happening, and new situations are welcomed
to emerge all around. Thus “Worth It” functions as an
outdoor exhibition in broad daylight, exposed to the
elements. Porcelain has to be experienced – the
material itself and its surface textures. Therefore all
exhibited ceramics are reproductions, or “fakes”: They
are modern objects manufactured using the same
“WORTH IT” IS AN EXHIBITON AIMED AT DEVELOPING A NEW APPROACH OF EVALUATING OBJECTS BY VISUALIZING UNUSUAL METAPHORICAL AND
LITERAL PERSPECTIVES
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WINNERS
Victoria Orrom
»The project presents Europe-Asian trade
relations during the 18th century, stressing the unfamiliar
insight that Europe tried to copy Chinese originals
and techniques. It's about the value of the core exhibit
– a porcelain Chinoiserie –, from different perspectives
of culture, tradition, time and place. Thus the concept
is clear and consistent applying the “Change of
Perspective” on the reflection of European cultural
heritage as intended by the EMEE project. The
scenography of the exhibition successfully translates
the content into a spatial arrangement with synaesthetic
qualities and participatory aspects. The idea of a pavilion
or pop up exhibition in public space is an evident
gesture and close to everyday life. Even though it
could have been more content-consistent – the pavilion
attracts a broad public and the non-visitors, which is
one of the basic ideas of EMEE. The concept exemplarily
shows how an object, which can be found in many
regional and national museum collections, could be
staged in a European context. “Worth It” arises the
question of value and makes the visitor aware of
different perceptions. The proposal convinced with
its respectful but also explorative staging of the objects
and its narrative potentials. Congratulations for the
4th prize. Jury comment
WINNERS
techniques as the “real” exhibits, purely for the
exhibition: They can be touched and held by the
visitors. But does their lack of authenticity make them
worthless? Solely the exhibiton‘s core exhibits, the
tea cup and saucer are presented as originals. This
again raises questions of value and its dependence
on copyright. Complementary programmes are aimed
at bringing forth cultural exchange and a new
appreciation of objects.
Being set between museum and performance,
private and accessible, the exhibition engages its
visitors in an active role: They decide on individual tours,
have to scrutinise their standpoints and finally take
things into their own hands. “Worth It” encourages
awareness towards the perception of our personal and
foreign traditions and cultures, and aims to develop a
new approach of evaluating objects.
«
THE EXHIBITION FUNCTIONS AS A POP-UP IN THE MIDST OF PUBLIC AREAS, E.G. THE FORBIDDEN CITY IN CHINA, INSPIRING PARTICIPATION AND PROVIDING FOR
DISCUSSIONS AROUND THE ISSUES OF VALUE AND WORTH
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47
WINNERS
THE CHINATOWN STREET MARKET UNCOVERS THE ODD AND SUBTLE INTERPLAY BETWEEN CAPITALISM AND THE CHINESE TRADITION OF DEVELOPING ARTISTIC
SKILLS BY COPYING THE WORKS OF MASTER ARTISTS
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THE EXHIBITION LEADS THE VISITOR THROUGH MANY THEMATIC AREAS: MEISSEN MANUFACTORY, AI WEIWEI‘S ICONIC
DESTRUCTION OF CHINESE POTTERY — A COLLECTION OF ABSURDITY ILLUSTRATING THE EUROPEANS‘ PERCEPTION OF CHINESE CULTURE —
SUGGESTION OF EXTREME VALUE THOUGH ITS EXHIBITS ARE ACTUALLY “FAKE”
49
DIGITAL MAYAS CREATE VIRTUAL CALENDARS
1
RUNNER
UP
ST
EUROMOTION
MULTIFUNCTIONAL ANTIQUITY
MYSTERY
TYPE.WRITING EUROPE
PANSCIRE
VYMAS H
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DIGITAL MAYAS CREATE VIRTUAL CALENDARS
A K A L E I D O S C O P I C U N D E R S TA N D I N G O F T I M E A N D S PA C E
The notions of time and space have changed, and
are still changing. Thus the exhibition practice is
challenged to undergo a change. Starting from a
decimal clock the multifaceted net of contexts spans
the globe, links time zones and distant places. The
visitor becomes the actively linking element: His point
of view as one of an infinite number of possible
perspectives becomes the exhibit – presented
between the poles of reality and virtuality.
The exhibition is subdivided into five contentbased sections that allow for an historical, geographical,
philosophical as well as a cultural contextualization
of the initial object. These five sections are at the
same time presented at five locations, which are
spread over the globe. Consequently, only one part
of the exhibition is physically accessible to the visitor
at a particular location. The other four are virtually
accessible: The exhibition architecture invites the
visitors to share their personal impressions with the
visitors at other locations via transmission of images
and sound. This exchange of perspective generates
an additional, social dimension. Without the active
communication of the visitors across spaces and
time zones, the exhibition experience would be
incomplete. The system is revolved like a kaleidoscope:
The sections rotate as a touring exhibition in the
five locations around the globe, allowing for
comparisons between one's own perception of the
rooms and those of others. Sensually experiencing
the phenomenon of time, the visitor is enabled to
approach the elementary, Europe-related questions
linked to this issue. Does time that is felt to be spent
together create closeness, a common space?
The potential of the exhibition lies in the
play with reality and virtuality: The five different
contextualizations of the clock multiply through the
exchange of perspective with the diversity of views
of the visitors and make for a kaleidoscopic experience,
just as multifaceted as the international audience
itself.
RAILWAY TO UNIFORMITY
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1ST RUNNER UP
Sarah Glauser
EXHIBITION CONTENTS CONTEXTUALIZING THE ARTIFACT: THE DECIMAL CLOCK BY ANDRÉ FÉRON
1ST RUNNER UP
—— RAILWAY TO UNIFORMITY – ABANDONING THE
DIVERSITY OF LOCAL TIMES FOR THE BENEFIT
OF A TRANS-REGIONAL RAILWAY NETWORK
—— UNIVERSAL INTERNET TIME – CONTEMPORARY
TENDENCIES TOWARDS A NON-LOCAL LIFESTYLE:
THE STRUGGLE AGAINST SPACE RELATED TIME
—— WAITING WITHOUT A TIMEPIECE –
HOW INUITS SPEND THE WINTER MONTHS:
A DIFFERENT PERCEPTION OF TIME INFLUENCED
BY EUROPEAN CONCEPTS
—— SCRAMBLE FOR PRECISION –
DEVELOPING A PRECISE MARINECHRONOMETER:
MEASURING INSTRUMENT AS A PRECONDITION
FOR TERRITORIAL EXPANSION
—— TIME FOR REVOLUTION –
ESTABLISHING DECIMAL TIME: AN UTOPIAN AIM
OF THE FRENCH REVOLUTION
WAITING WITHOUT A TIMEPIECE
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EUROMOTION
T H E H U M A N FA C E O F EU R O P E
What is Europe? How to change our perspective?
Choosing a user-centred design approach, we
believe that the strongest inspiration directly derives
from the heads and hearts of the people we are
designing for.
Europe is not an abstract entity; it consists of
all the people it is home to. Europe is a dream or
doesn’t even exist at all: According to Yoko Tawada’s
surrealistic-lyrical writings covering an outsider
perspective, for Amir not seeing any European
relevance in his daily life in Berlin-Neukölln and for
Kadir, a refugee from Syria, who imagined his life in
Europe to be somewhat different. While Yoko
Tawada has been an inspiring textual approach for
us, we met Amir in person. We raised the questions:
What is Europe for you? What do you like about
museums?
Conducting interviews with experts from both
the museum world and civil society agents focusing
on Europe and the EU, we strongly aimed at gaining
a broad and deep understanding of our target group,
their perspectives on the European topic and their
expectations towards museums and exhibitions.
The concept “Euromotion“: The Human Face of
Europe, reflects this personal and emotional approach
and embraces the visitors’ desire to be actively
involved and empowered to playfully interact with the
exhibition. During our interviews, many Europeans
voiced their perceptions that Europe is about
freedom – freedom to travel, to consume whatever
you want, to live wherever you want to. These strongly
resonate with the EU’s “four freedoms” as defined
in 1957, of goods, services, capital and people.
Building on both theoretical and empirical
insights, our exhibition allows the visitor to obtain a
change of perspective alongside those four “categories
of freedom”. Through personal stories, the visitor is
able to slip into someone else’s life and thus
experiences the exhibition through (still) foreign eyes.
Euromotion represents an emotional and yet settingto-motion spirit by depicting Europe through a
narrative, responsive and participatory scenography.
OVERVIEW OF THE EXHIBITION: ENTANGLING PATHS GUIDE THE VISITORS THROUGH THEIR PERSONAL JOURNEY
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1ST RUNNER UP
Christoph Baierlipp, Lukas Bosch, Niza Dillman, Sonja Schiffers
Design Thinking, Design, International Relations, Historical and Cultural Anthropology, European Studies,
HPI School of Design Thinking, FH Potsdam, FU Berlin
1ST RUNNER UP
THE CHOICE OF CHARACTERS IN THE LOBBY DETERMINES THE RESPECTIVE EXHIBITION EXPERIENCE
58
ON THE INTERSECTIONS OF THE CHARACTERS’ PATHS SIX CENTRAL EXHIBITS REFLECT ON THE SHARED TOPICS OF THE EXHIBITION — SEVERAL OBJECTS TELL
PERSONAL STORIES OF THE EXHIBITIONS’ CHARACTERS
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MULTIFUNCTIONAL ANTIQUITY
F R O M D I S P O S A B L E PA C K A G I N G TO P O R TA LO O
At the start of the exhibition, the visitor receives a
PET bottle labelled with a profile. They are asked to
take the bottle with them through the exhibition. In
the first room, the visitor discovers suspended boxes.
A smell stings the nose as soon as the visitor opens
one. Where do these odours belong? The visitors
search for the connection to the exhibition they initially
expected.
Left alone with this impression for the moment,
the visitors enter a room that features modern objects
in showcases. They serve to demonstrate the wide
variety of applications of antique amphorae by the
translation into current everyday objects. In the
following room the actual first function of amphorae
is presented through antique exhibits. They were used
as transportation containers for reeking fish sauce,
olive oil and much more in ancient Rome. Other uses
of these vessels are less well known. They were, for
example, converted into toilets or coffins. Soon the
visitors make the connection to the smells that they
could not distinguish before: All scents are associated
with the amphorae and their extremely diverse
purposes. In our time, the amphora has major
significance as information carrier, a fact that is
illustrated in the next room. The visitor can pull
handles embedded in the floor, which trigger the
reaction of an interactive map of Europe.
At the end of the exhibition, the visitors enter
a room with a large, transparent cylinder, which
extends down to the basement. This is the point,
where the visitor is asked to fill in the profile on the
PET bottle and to throw it into the cylinder. From the
spiral staircase, the visitors can read the information
of those people who had visited the exhibition
before them. At the same time, they see the view of
a contemporary rubbish dump. Which conclusions
regarding today's life will be drawn from our rubbish
in the future?
AMPHORAE: ANTIQUE EXHIBITS
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1ST RUNNER UP
Anja Raemy
1ST RUNNER UP
CROSS SECTION — EXPERIANCE WITH OTHER SENSES IN THE “SMELL ROOM”
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ANTIQUE RUBBISH DUMP
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MYSTERY
T H E B A P T I S T E R Y F U L L O F H I S TO R Y
SECTION VIEW OF THE EXHIBITION
64
In the present day, facts can be researched easily.
Yet, the really interesting aspects of an exhibit are
not the facts, but rather its biography and the stories
that developed all around it. Even more appealing are
mysteries that inspire the visitor to think.
The central object of the exhibition, the
Baptistère de Saint Louis, is a basin made of precious
materials that had been manufactured in the Islamic
cultural area and then taken to France. An object like
the Baptistère is highly unusual in our present time.
A large part of the object's history is still a mystery
and will most probably never be disclosed.
Instead of hushing up the uncertainties, the
exhibition explicitly points out these gaps in the
biography of the baptistery. The visitor gains a multiperspectival access to the object. The “aura” of the
baptism vessel is conveyed to the visitor in a spatial
as well as in a thematic manner.
In the first room, the visitor is familiarized with
the possible uses of the exhibit in the different
cultures. The second room presents the diversity of
engravings on the object. Through a narrow, dark
tunnel, the visitor reaches a platform. In its middle,
the Baptistère is placed on a stand-alone pedestal.
On the floor and walls the engravings of the exhibit
are depicted and the glass ceiling suggests a water
surface.
As a result, the visitors feel as if they are
situated right inside the vessel. Four smaller rooms
are dedicated to one topic related to the object. In
the rooms, several explanation attempts are
offered. The guest moves independently between
them and realises that not all of these stories can be
true. Underneath the platform, a room with a water
wall is located. In this room are the portraits of
people who have been baptised in the vessel. In the
last room, the visitor is finally confronted with
questions. These prove to him that many more stories
are hidden in the object. At the end of the tour, the
visitor re-enters the first room where he becomes
aware of the experienced change of perspectives.
65
1ST RUNNER UP
Corinne Fabienne Morf
1ST RUNNER UP
THE MYSTERY: BAPTISTÈRE DE SAINT LOUIS
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VISUALIZATION: PROLOGUE “HAND WASHING”
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PANSCIRE
PA N / S C I R E – A L L / K N O W L E D G E
A D I G I TA L S Y S T E M C R E AT E S I N T E R - M U S EU M O B J E C T L I N K S
Where does the telling of a story start and where
does it end? Each visitor observing an object will be
interested in different aspects than other visitors,
depending on educational background and origins.
Consequently, every exhibit can tell a thousand
different stories. In order to allow for all of these
perspectives, all connections and contexts have to
be presented openly and with equal emphasis.
As a result, curating museums of the future
will have a new significance – every single visitor can
choose freely, which topic, which sequence they want
to address and where they want to access it. It does
not play a role at what time or place the observer
starts. Every single visitor actively composes and
experiences his own individual sequence of objects.
Unique dramaturgies are created in a single intermuseum, Europe wide exhibition. The EMEE Museums
will be the ones to take the first step and collect all
this information and the links. As it is the museums
that have hitherto imparted qualitative, neutrally
researched knowledge to the people. Every single
object in the museums can thus be thematically
interlinked with others on a Europe-wide basis. An
enormous network between museums with
qualitative knowledge is established. When this is
achieved, previously unknown perspectives will be
opened up to everyone. In the future, people will no
longer gather information scattered on different
platforms of the worldwide web. Expertise will no
longer go astray just because an exhibition closes.
Knowledge will be available in classified
form in the digital Panscire system. As in order to
grasp it in all its diversity and dimensions, the
observer has to come face to face with the exhibit
instead of just looking at a digital image. No
computer animation, no projection, no holograph is
able to substitute a real, tangible object and to
make its aura palpable, let alone to replace the
atmosphere of a historical location. The interactive
surface presents the information that interests the
observer and reveals new perspectives. Panscire leads
the visitor to the exhibits that are located in museums
all over Europe and are thematically inextricably linked
with each other.
ALL EXHIBITS ARE THEMATICALLY LINKED TO EACH OTHER. THE BEHOLDER ASKS PANSCIRE WHERE HE CAN FIND OBJECTS WHICHEVER HE IS INTERESTED IN.
PANSCIRE BRINGS THE BEHOLDER TO THE MUSEUM AND TO THE EXHIBITS, AND SHOWS HIM ADDITIONALLY SOME UNKNOWN PERSPECTIVES
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1ST RUNNER UP
Noël Michel
1ST RUNNER UP
IT‘S POSSIBLE TO USE PANSCIRE EVERYWHERE. PANSCIRE ALSO BRINGS YOU TO PLACES ALL OVER THE WORLD WITH REAL ATMOSPHERES,
WHICH NO OTHER MUSEUM CAN DO
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IF YOU USE PANSCIRE IN THE MUSEUM, IT WILL SHOW YOU DIFFERENT AND UNKNOWN PERSPECTIVES AND EVERYBODY CAN CHOOSE THE THEMES
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TYPE.WRITING EUROPE
A N I N T E R A C T I V E E X H I B I T I O N , E V O LV I N G W I T H E A C H V I S I TO R
« L'Europe n'est pas un Lieu, mais une Idée
d'Humanité. » (“Europe is not a place, but rather an
idea.”) Bernhard-Henri Lévy
Inspired by the above quotation of Lévy and
the Olivetti typewriter as an exhibit, we conceived
an art concept that consists of both a performance
based installation as well as an exhibition. Together
with the exhibition visitors, “Type.writing Europe”
develops a new mental sphere for “Europe as an
idea” in two rooms. The continuously growing
exhibition stretching across Europe invites everyone
to become part of a bigger picture. Visitors enter a
black room.
The illuminated Olivetti attracts spectators and
guides them to the centre of the room. One sheet of
paper inserted in the typewriter has a single sentence
written on it: “Europe is not a place, but rather an
idea.” As soon as someone starts typing in the black
room, this room progressively illuminates the function
of the visitors’ individual ideas for Europe. This is
supposed to encourage everyone to get active, to
participate and to therefore allow the idea of Europe
to grow. Vis-á-vis there is a white room, transferring
a glimpse of thoughts from the black room of
yesteryears into the here and now. Inside, individual
thoughts and perspectives are combined into a
continuously growing entity. Texts written in various
languages, which were gathered on the journey
through Europe in the black room, are projected in
black font in front of Lévy’s quote and is made
accessible online. In contrast to the black room where
the focus was on physical typing, the white room
allows visitors to bring order into the dark room via
hand movements of our time-swiping.
“Type.writing Europe” creates a multilingual,
audio-visual, concept-thought-room; growing larger
with every city.
AS SOON SOMEONE STARTS TYPING, THE ROOM PROGRESSIVELY ILLUMINATES AS A FUNCTION OF THE VISITORS` INDIVIDUAL IDEAS FOR EUROPE
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1ST RUNNER UP
Marie-Luise Uhle, Ev-Simone Benzing, Miranda Kahlert
Bühnenbild_Szenischer Raum, Technische Universität Berlin
1ST RUNNER UP
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A MIRRORED CEILING CREATES THE IMPRESSION OF AN INFINITELY LARGE SPACE FOR THOUGHT TO EXPAND IN
USING MOTION CAPTURE, VISITORS ARE ABLE TO ZOOM IN ON TEXTS UNTIL ONE SINGLE LETTER APPEARS
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VYMAS H
D E C O D I N G T H E H I S TO R Y
Based on the Enigma as German encoding machine
during the Second World War, one can find numerous
stories on the development and use of it. These stories
get even more exciting as soon as the system develops
faults or even fails completely. The decoding of the
German communication by the Pole Marian Rejewski
and the British experts at Bletchley Park attributes a
very special role to Enigma.
The fact that the Enigma and its encryption had
a verifiable influence on the course of the Second
World War creates a new view of this object: The
Allied Forces were thus able to react to the German
attacks early on and – according to some experts –
shorten the war by at least one year. These facts
awake the visitors‘ curiosity. The decoding of the
Enigma was only made public nearly 20 years after
the end of the war – an incident that some of the
visitors will not be aware of. Learning about it will
influence the various nations’ view of the war.
Enigma forms the content and the spatial centre
marking the starting point of the exhibition. Arranged
around it are events, which have verifiably been
influenced by the decoding. The surrounding rooms
can be visited in any order. At the same time the
reference to the Enigma in the centre space of the
exhibition are always maintained by the connecting
passageways and the views they allow. The exhibition
concept is characterised by the creation of different
atmospheres and the tool of narration.
The Enigma simulator room is the climax of the
exhibition in which one can encode and decode own
messages. The visitors are given the opportunity about
the cryptographer‘s work and the remarkable machine
that the Enigma is. The topic of decoding extends
even to the title of the exhibition – “VYAMS H” –
which is the word “Enigma” encoded by an Enigma
simulator. The exhibition thus imparts the topics of
deciphering and different views of the historical
developments following the decoding of the Enigma.
THE CENTRE SPACE “ENIGMA AND THE EVENTS OF THE SECOND WORLD WAR” ALLOWS THE VISITORS TO COMPARE THE ENIGMA AND THE INFLUENCED EVENTS,
BASED ON PROJECTED SCENES. THIS ROOM FORMS THE CONTENTUAL AND SPATIAL CENTRE MARKING THE STARTING POINT OF THE EXHIBITION PARCOURS
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1ST RUNNER UP
Tanja Baltensperger
1ST RUNNER UP
THE ARRANGEMENT OF THE SPACE AFFECTS THE EXHIBITION AND THE VISITOR EXPERIENCE. THE ROOMS CAN BE VISITED IN ANY ORDER AND
THE REFERENCE TO THE ENIGMA IN THE CENTRE IS ALWAYS MAINTANED BY THE CONNECTING PASSAGEWAYS AND THE VIEWS THAT THEY ALLOW
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THE DECRYPTION OF THE ENIGMA AND ITS INFLUENCE ON THE BATTLE OF BRITAIN: THE EXHIBITION SPACE, WHICH IS CHARACTERISED BY THE HEIGHT OF
THE ROOM AND THE INSTALLATION WHICH IMITATES FLYING AIRPLANES — THE INFORMATION ABOUT THE BATTLE OF ATLANTIC ARE: TEXTS ON BLUE GLASS
AND THROUGH TYPICAL PERISCOPES THAT ARE INSTALLED ON THE CEILING, AND VARIOUS INTERVIEWS WHICH SHOW SOLDIERS AND CRYPTOGRAPHERS
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2
RUNNER
UP
ND
A HOME-MADE LASTING PEACE?
A SNAPSHOT OF EUROPE
AROUND THE BELL-BEAKER
BACK TO THE FUTURE
CAMOUFLAGE
COMMON COMMUNISM?
EUROPE – EMOTION OF LIFE
EURO LUDO
GLÜCK AUF
HOME
ICONIC < SUN > PROTEST
INTO THE WORLD OF THE PLATE
THE LITTLE MERMAID
MUSEUM WITHOUT BORDERS
ORIENT AND OCCIDENT
SECOND LOOK
VENI – VIDI – VICTUS*
WHAT THE BELL?
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A HOME-MADE LASTING PEACE?
P E A C E A S A “C H A N G E O F P E R S P E C T I V E” – W H E N A B I K E R E P L A C E D T H E W E A P O N S
In the middle of the 19th century when the Habsburg
Monarchy tried to reinvent itself, Johann Puch was
born in a small community called Sakušak. After a
short period at the home farmyard, he began an
apprenticeship as a locksmith. Towards completing
his training, the young man went on peregrination
before fulfilling his military service. Through this
peregrination the – bike enthusiastic – Slovene came
to Graz. It happened, that not only in his private time
(for example while chatting in the sports club) he was
talking about bikes, also in his career terms bikes
were his passion. He specialized in the bike industry
with concentrating on reparation. After several
attempts he received his first license for a bicycle
repair shop in 1889.
Around the same time the Österreichischen
Waffenfabriks-Gesellschaft (ÖWG) was looking for
new production facilities to utilize their factories in
time of peace. In the UK they discovered a bike, the
company acquired the license for a “Swift” bike from
a company called Coventry. This has now been
produced under the name "Waffenrad" in Austria. In
1896 it was registered as a brand name, and the
production rolled to the fullest. Later the ÖWG was
completely absorbed into the giant company
“Steyr -Daimler -Puch AG”. However, the production
went on in the Puch-Werken-Graz-Thondorf.
This story shows how an English bike became
a product of Graz and remained until the year 1987
in the capital of Styria. What followed was the sale
of the licensing to Piaggio, nowadays the bike returned
to Austria and is now manufactured by Faber GmbH
in Vienna.The Puch wheel became an European cult
object and nowadays it is not only found on the streets
of Graz, but also rolls “Unter den Linden”, on the
“Avenue des Champs- Élysées” as on “Oxford Street”.
BIKE INSTALLATION: HOW THE PUCH WHEEL BECAME AN EUROPEAN CULT OBJECT
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2ND RUNNER UP
Andreas Attwenger, Peter Liszt
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A SNAPSHOT OF EUROPE
THE E XHIBITION WITHOUT E XHIBITS
The outside and inside of the pavilion is a metaphor
of the “European Mind”. A property, that is never
static, but reacts in every moment on the visitors,
their thoughts and actions. The pavilion itself incarnates
the Europeanization and gives the attendant a great
interactive experience about thinking in a European
perspective.
The question how much object is needed for
an exhibition, when visitor, space and content interact,
formed the central idea. It’s about creating a new way
that transports content with a multi-perspective
interpretation. The delivery of content to visitors is
not necessarily bound to objects. The “European
Mind” as content is a flowing and altering state. It
depends on plenty of aspects and is not concrete or
haptic. Because they are fixed, static objects, and are
not the first choice to present the overall European
context. Everything needed is already given: The
people that are the most important part of Europe;
the room, built out as a pavilion, which is travelling
through Europe, the theme of the exhibition, the
content of Europeanization. The room shell itself
should be designed in every country from national
architects/designers/artists who are showing their
view, perspective and interpretation of their own
country.
The permanent optical change of the pavilion
symbolises the complexity and variety of Europe.
Inside there are no exhibits: Why should an exhibition
present objects, when the visitors bring everyday
objects on their own like glasses, umbrella, or keys…?
Three of the brought objects can be registered
with a chip-sticker on. There are three different main
themes - Human, Space and History - each full of
interactive stations, where the visitor can decide for
which of his objects he wants to get a background
story – by scanning it. To form real European variety,
every visitor can become part of the exhibition by
proposing new objects. While moving through
Europe, the exhibition expands with its visitors and
develops to an authentic image of the European
property.
THE PAVILION, DESIGNED AT EVERY LOCATION BY A NATIONAL ARCHITECT / DESIGNER / ARTIST, SHOW THE PERSPECTIVE AND INTERPRETATION
OF THEIR OWN COUNTRY AND CULTURE
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2ND RUNNER UP
Stella Mack
Interior Architecture, Coburg University of Applied Sciences and Arts
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AROUND THE BELL-BEAKER
F R O M R I Z I N G TO PA S S I N G: A P R E H I S TO R I C C U R V E O F A T H O U S A N D Y E A R S
The concept drives an interpretation of the BellBeaker's geographic dissemination, and transversely
of those cultural rituals relevant to the Bell-Beaker
phenomenon. Several routes arranged in the shape
of a hand fan suggest the dissemination factor,
providing a spatial reading; a curved route connects
the edges of the “fan” to provide a temporal reading
of the rituals, from birth to death. The spatial and the
temporal reading form a system.
The structure's curved modular boards serve
as reference to a dialectic between the vase's inner
and outer dimensions: the concave side refers to its
utilitarian aspects such as the making of mead or
psychotropic substances, and also to burial rituals;
the convex side refers to decorative expression and
techniques, and thus to the vase's dissemination
through land, rivers and seas. These boards are placed
to offer the visitors an experience of constraints and
continuities in space, and to work with the lighting in
order to suggest points of focus and perspective, so
it is always possible to be standing close to a focus
point and have lines of sight into other points: each
circumvented board might anticipate the discovery
of a new vase, a new region or a new ritual.
There is no single route in this space. The
architecture is determined by the concept, but the
visitors should perceive the narrative regardless of
the way they choose to circulate. Ten Bell-Beakers
from various countries cover the Phenomenon's
geographic scope. The remaining items, both present
or evoked by various media, draw the lines of
communication for this structure of meanings and
integrate the concept within the scientific content
to be transmitted.
This project for an itinerant exhibition has the
goal of making known the first pan-European culture,
vanished around 3800 years ago, without trying to
teach, describe or portray it. Instead, the aim is to
bring it down to its most immediate understanding:
at the level of objects, space and time.
EXHIBITION STRUCTURE
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2ND RUNNER UP
Isabel Abreu, Miguel Rodrigues, Leonardo Rossetti, Tiago Jordão
Equipment Design / Multimedia Design / Sculpture, Faculdade de Belas-Artes, Universidade de Lisboa
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BACK TO THE FUTURE
BE OPEN FOR A NE W PERSPEC TIVE
The concept of “Back to the Future” does not follow
the principle of a historical museum “That's how it
was”, but rather the approach “That's how it might
have been”. The drawing and the reference project
“Postal Air Balloon” by Balthasar Anton Dunker (1784)
transports this idea in an exemplary way. Past or fact?
The exhibition revives visions dating from the time
of undaunted belief in progress from a present-day
perspective.
The reference object “Postal Air Balloon”
already contains the change of perspective by allowing
a different view of the world from up high. Thus, at
the outset of aviation, hopes were high that the
opportunity to fly over borders would serve world
peace. The "Postal Air Balloon" is an early historical
aviation fiction of an airborne city. The object reflects
the dream and the longing to fly. The belief in the new
world of technology led to fantastical, fictional designs.
The exhibition demonstrates how strong the belief
in the technological progress in aviation was and still
is. The exhibition picks up the idea of fiction and
broadens it with various issues connected to the
reference object. Between these aspects that all treat
fictions of flying, new perspectives and connections
are generated that the exhibition visitors can adopt
for themselves. The exhibition room is located in a
high, square room. The prologue is a walk on a ramp;
thus the visitor has an elevated position and gains an
overall view from different angles of the structure of
the exhibition. On the level of the exhibition he enters
the central room, which displays and explains the
reference object “Postal Air Balloon”. With this prior
knowledge, the visitor reaches seven thematic
exhibition rooms:
Postal Air Balloon: From image to object, Steampunk:
Observations through fictional art, Jules Verne: Five
Weeks in a Balloon, Mad Science: Flying objects that
were never built, Fictional Aircraft Design: Designer
phantasies, Luigi Prina: Craving for flying as a hobby,
Flying Cities: Architecture in the clouds. The exhibition
opens up different content-based perspectives from
fictional topical areas and is deliberately not structured
in a linear way, as every visitor should experience
their own individual adventure.
TOP VIEW ON THE EXHIBITION “BACK TO THE FUTURE” PRESENTING THE “POSTAL AIR BALLOON” IN THE CENTRAL SPACE
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2ND RUNNER UP
Tim Brülhart
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CAMOUFLAGE
T R U T H AT S E C O N D G L A N C E
There is more to the Tarock cards of Boris Kobe than
one might suppose at first glance. Through a more
detailed analysis of the cards, it becomes obvious
that they are not just an historical deck of cards,
produced by a prisoner for reasons of distraction or
mental fitness. They are rather a secret documentation
of the atrocities during the imprisonment in the
concentration camp. In order to be able to take this
documentation home to his country, Boris Kobe
camouflaged them as Tarock cards. This was his only
option to smuggle this testimony over the borders
from Germany to Slovenia.
The dramaturgy of the exhibition follows the
principle of unveiling by granting the visitors an
emotional, sympathetic access and enables them to
personally experience the change of perspectives. In
the first exhibition room, the visitors are first
confronted with the situation that they have to wait.
By means of a light signal, they are asked to pass a
fictional light trap that imitates a border crossing. In
the opposite interview chambers, interrogations in
the form of shadow plays are taking place and are
projected onto a glass wall. Interview dialogues of
border guard interrogations acoustically enhance this.
The emotional experience conveyed by this border
crossing serves as an introduction to the change of
perspectives and facilitates to relate to the topic
of camouflage. After the staged border gates,
different theme rooms with different stories open
up; each of them explains the principle of camouflage,
enhances and illustrates the connections to the
Tarock cards (e.g. the work of the illusionist Liu Bolin).
In the last room, the situation is resolved by putting
Boris Kobe's original Tarock cards in the historical
context. The visitors now realize that the cards had
been camouflaged as a deck of playing cards due to
the fact that all documents had to be destroyed. One
more room at the end of the exhibition displays objects
that the police confiscated and were intended as
containers for smuggling objects over borders.
PROLOGUE: OVERSIZE TAROCK CARDS ON PANELS — LAST ROOM: ORIGINAL EXHIBITS; TAROCK CARDS 9 X 6 CM
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2ND RUNNER UP
Afrime Zekiri
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COMMON COMMUNISM?
O N T H E C O M P L E X I T Y O F A N I D E O LO GY
The pocket watch with Lenin‘s face accompanies
different people through their lives in the Eastern
European communist regime in the 20th century. It
stands as a symbol for the same ideology that was,
however, realized and lived differently by each of
the watch owners. “Common Communism?” allows
the visitor to pursue the fate of different persons
in 20th century communism. The exhibition does
not present communism as a uniform ideological
construct, but rather emphasises its intricacy and
complexity.
The visitors accompany the Dutch communist
Albert Potze through his life, experience various
important stages and learn to understand his
actions. Consequently, the change of perspective
does not only signify seeing something from a
different perspective, but also to give up ones own
position for a moment and to be able to accept an
experience. The complexity of the topic is taken up
and reflected in the design of the exhibition. The visitor
enters the exhibition through the tenth level: the
Netherlands. At the same time, they find themselves
in Albert Potze’s life. By structuring the exhibition
into different countries at different times, the
perspective of the visitor regarding the exhibition
and communism is changed.
The country-formed levels not only offer
different views of other countries, but also
simultaneously provide the visitor with information
on their interpretation of the communist ideology.
Especially when visitors are situated between
two countries, they start to understand, how many
different views on an issue are possible and how
this multi-perspectivity enriches the world we live
in. Hence, “Common Communism?” emphasizes
the high value of the change of perspective: Being
different and thinking differently can build barriers
between people – but if we change our standpoint
and try to understand the ideas of others, we can
tear down these walls.
WHETHER OCCURRING ON THE TEMPELHOF IN BERLIN, STANDING IN THE MIDDLE OF GREENWICH PARK IN LONDON OR FACING THE KREMLIN ON THE RED
SQUARE IN MOSCOW: THE EXHIBITION“COMMON COMMUNISM?” AMAZES WITH ITS COMPLEXITY AND PROVOCATIVE ARCHITECTURE
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2ND RUNNER UP
Galina Litman
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EURO LUDO
EU R O P E A N M I G R AT I O N G A M E
Ludo is a game that is widely known around the world
and Europe by all generations. Its simple rules and
iconography make the game instantly recognizable.
So we decided to take the simple concept of Ludo
and convert it into a European context. The main rule
of Ludo is to move around the board and get “home”.
This simple concept nicely translates into a main
European principle, which is free migration between
all European countries. The circles in EURO LUDO
now represent countries and the player is symbolically
migrating around Europe. When you move around the
board you get to experience migration stories in
different contexts and countries. The goal of the game
is to reach the centre, which represents the European
ideal. As you experience the game you get to reflect
on European policies and ideas. The game world offers
an interesting twist on interaction in public space and
is a playful but thoughtful experience that also raises
social and political issues.
To experience EURO LUDO you need to scan
a designated start area. After you scan the code, your
mobile phone guides you through the game. You roll
the virtual dice and move to your designated place –
a European country. When you arrive at the country,
the app offers you a choice to state your reason of
stay. Different choices present different results and
you can read the story that is depended on your
choices and country. After you read the story you
move to the next country and experience a different
migration story. You win when you reach the centre
and you get to experience the European ideal.
Every play-through is unique and each time you get
to experience different countries and stories. Around
the board different illustrations of different European
objects are scattered, which are not noticeable on
first glance but add some playfulness to the whole
composition.
EURO LUDO is not a board game for playing
at home but an interactive scenography for a public
space. It is instantly approachable and fun, and can
be used in different contexts, e.g. as a public hub for
teaching and discussing different European issues; it
can connect and engage people.
EURO LUDO AS AN INTERACTIVE SCENOGRAPHY FOR PUBLIC SPACE
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2ND RUNNER UP
Dorijan Šiško, Aleksandra Tomc, Blažka Jurjavčič
Visual Communication Design, Academy of Fine Arts and Design, University of Ljubljana
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EUROPE – EMOTION OF LIFE
W E A R E EU R O P E . W E A R E T H E F U T U R E . W E C A N A C H I E V E S O M E T H I N G
Museums are the mirror of the past, many of them
covering the subject of Europe. But we want to look
to the future. In the waiting areas of airports we offer
a wide, international public the possibility to do exactly
this in our exhibition. The visitor should leave here
having new visions, perspectives, viewpoints, and to
continue carrying these long after the encounter. In
our construction, the European is at the centre of the
active object. After all, each of we Europeans
symbolizes Europe. We are all Europe. The eye‐catcher
is the oversized, modified, colourful and reflecting
kaleidoscope in the form of a net, which reaches to
the ceiling. It symbolizes the individual countries and
inhabitants but it also presents the different facets
of Europe.
In addition, present and future are shown in
the net. Projections in the form of briefly displayed
photos allow a view into the current events of Europe.
For this, real time news is obtained from the Internet.
Information that is circling through news and social
networks in the worldwide “net” appear immediately
in the European net. In order for the European to be
able to set the kaleidoscope, which represents Europe,
three swings in motion are fixed. The motion of these
swings causes an up and down movement. This leads
in turn to a movement of the net and thus the
kaleidoscope. Through this the visitors have the
possibility to interact with each other and to bring the
construction into motion together.
Through the interconnection of the whole
construction the visitor experiences how variable and
changeable things can be. “Change of Perspective”,
in view of Europe, occurs through one's own actions
and through joint action of the Europeans. The active
moment experienced in the “European Net” should
manifest and internalize a long‐lasting “we” feeling
in the visitor, and most importantly, set something in
motion within the visitors themselves.
THE EXHIBITION “EUROPE – EMOTION OF LIFE” IS DEVELOPED FOR WAITING AREAS OF AIRPORTS
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2ND RUNNER UP
Aitana Miriam Villanova Pellicena, Jessika Nadine Wendel
Design, HAWK, Hochschule für angewandte Wissenschaft und Kunst Hildesheim
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GLÜCK AUF
A G R E E T I N G U S E D BY M I N E W O R K E R S TO S AY:
“G O O D LU C K W I T H T H E S E A R C H F O R C O A L A N D R E T U R N S A F E LY !”
Coal – a black or dark-brown combustible mineral
substance consisting of carbonized vegetable
matter, is used as a fuel. To get myself familiarized
in the European context of the scenographic
competition, I went on an exploration trip to one of
our adjacent countries: Germany. I visited a couple
of museums in search of an interesting object. In the
Ruhr Museum at Zollverein in Essen I discovered a
whole exhibition about the mines. When I saw this
section, I immediately knew: “I’ve found the perfect
subject for my travelling pavilion”; coal, also known
as the black gold from the mines. The importance of
the mines and more specifically of the coal that was
gained from them was decisive to rebuild Europe
after World War II. The ECSC, the European Coal and
Steel Community, was born and led to an industrial
industry.
How has the perspective of coal changed
through the years? I asked my grandparents about
the mines and how they experienced it. To them,
the mines and the coal that came from it, represented
not only hard work and labour but also a primary
material for cooking meals and heating the house. I
asked the same question to my twelve-year-old
nephew. He knew it came from the “old mines”, but
couldn’t come up with an application in which it is
being used today. When I heard this, the idea came
to me to create an interactive pavilion that could be
exiting for both young and old. At the same time, the
exhibition would bring back memories for older people
such as my grandparents and would give also young
people like my nephew the opportunity to learn
something in an experimental way.
I decided to lead the visitors through several
tunnels in which they could experience different
aspects of mines from a European perspective.
GLÜCK AUF!
A DARK TUNNEL WITH ONLY FOUR LIGHT BULBS THAT HANG RIGHT ABOVE ILLUMINATED CUBES WITH EXPRESSIVE PICTURES OF SCENES IN THE MINES —
A TUNNEL WITH TWO POEMS ABOUT THE LIFE OF MINEWORKERS AND THEIR HARD LABOUR. AT THE END OF THE TUNNEL, A MINEWORKER AWAITS YOU
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2ND RUNNER UP
Katrien Spaas
Interior Architecture, Hasselt University
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HOME
J O U R N E Y O F T H E V O LG A G E R M A N S
“Home” is an exhibition that enables the visitors to
experience a part of history with the use of feelings
and moods. It is the story of a marginal group that
crossed Europe more than only once. The Volga
Germans, who are native German farmers who
emigrated from their motherland to find a better life
situation in Russia. Many of them settled close to
the Volga river. In the 18th century they started to
move to the wide fields of the Russian country
and began a new life there, becoming successful
farmers and hand-workers. When Stalin's dictatorship
began, the Volga Germans became traitors and a
public enemy in the eyes of the Russian government
and the Russian citizens. They were deported to
different parts of the world and had to leave their so
called home again, but this time because of higher
instance. Lots of Germans in Russia went back to
their native home, Germany.
The exhibition does not explain details,
numbers and statistics. Visitors are not going to be
confronted with graphic design and typographical
elements inside. The concept is built on abstraction
because it allows itself to work in a different way as
usual. Asymmetric architecture, projections, and
installations are the tools that talk directly on an
emotional level. Interaction elements integrate the
visitors. The exhibition is also split into six different
rooms, each being a symbol for one point in the history
of the Volga Germans. The visitors are going to walk
through the history and also be a part of it. They “refeel” and change perspectives.
How does it feel to be treated like them? When
did they finally find a place to stay? The exhibition
translates moods and feelings to the visitor. The aim
is to make the visitors think about their attitude
towards the question of what human beings are
looking for. The history of the Volga Germans is a
representative for refugees and moving people who
still look for a new home nowadays. Even inside
Europe.
SKETCHES OF EXHIBITION ROOMS
100
101
2ND RUNNER UP
Alexander Mick
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ICONIC < SUN > PROTEST
B AT H E T H E D E B AT E A R O U N D T H E A N T I - N U C L E A R M O V E M E N T I N A D I F F E R E N T L I G H T
From the street into the “museum” and back. As
a temporary event, the contemporary museum
enhances different locations and is as flexible and
dynamic as its visitors. The universal symbol of a
long-standing and still active protest movement,
the “Nuclear Power? No Thanks.” badge blends in
with the multitude of other historical sun symbols
and is thus bathed in a new light.
Within the framework of a continuous
installation principle, different contextualizations
around the "Smiling Sun" are presented in the
respective atmospheres. The spatial organization
of the two-dimensional images makes their huge
number as well as the prevalence of the badges
physically tangible. In large cities and in the
countryside, all over the continent, the young and
elderly have been using the “Nuclear Power? No
Thanks.” badge for more than 35 years in order to
position themselves in the debate around the
nuclear power plants. How did a simple Danish
sketch manage to reach its international degree of
popularity? What has the protest movement got to
do with the Greek deity Helios? From the grace of
the sun cult, to the courage to march through the
protest.
These two seemingly completely different
issues have one thing in common: the sun as
accompanist and icon. The museum is turned into
a dynamic platform, which makes it as transitory as
the protest itself. Designed as a temporary event,
the installation functions as a provisional construct
that travels through the cities of Europe. It agitates
and raises questions. Through observation under
the magnifying glass of time and from the distance,
new views are provoked. The physical experience
internalizes the gathered insights and carries the
change of perspectives to the outside. The
confrontation with the current situation in Europe
and the influence of the past on the present, the
visitor takes part of the story to the outside and will
continue it in the future.
THE SYMBOLS ARE ARRANGED WITH AMPLE SPACE FOR CONTEMPLATION AND REMIND US OF THE IMPORTANCE OF THE STAR IN DIFFERENT SOCIETIES —
HOW DID THE WEARER OF THE BADGE, THE FLAG WAVERS, THE ACTIVISTS CHANGE? A JOURNEY TROUGH HISTORY AND PRESENT OF A PROTEST MOVEMENT
102
103
2ND RUNNER UP
Pia Schwarz
----------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------
INTO THE WORLD OF THE PLATE
B O C H L A LO U V I È R E
Boch La Louvière – NAVIRE Royal Boch is a Belgian
pottery factory, mounted in La Louviere. My object
is a decorative plate of the series: Navire, of Boch
LaLouviere. It dates from around 1940. Navire is an
exclusive series, which shows sketches on the
plates. “Navire”, translated from French, means ship.
The plates represent romantic English scenes.
Views of the sea, villages, boats moor... The edge
of the plate symbolizes the surrounding landscape
with flowers and tents.
Concept Quote: “If you present a plate on a
wall, people will just pass by without really looking
at it.” Hereby, I started with the idea to enlarge the
scene, shown on the plate. To let people reflect on
what they see and where they normally just would
walk beyond. It tells story in which you can see
the beginning and where you can make up your
own sequel. With this pavilion, I want the visitors to
feel like they are also part of the story. By entering
the plate and the story behind it, as if they are the
creators of the sketch.
For the design of the pavilion, I started from
the shape of the plate, but especially from the design
of the Boch Navire logo. While experimenting with
the shape, the design always turned out to become
a large circle with a smaller one inside. By entering
the pavilion you see half a panorama. You can see the
scene of the plate, but also get an idea of how the
story beyond the contours of the plate could look like.
The technique to display it is inspired by Kirigami,
which is a variation of origami. The outer large circle
of the pavilion symbolizes the edge of the plate. This
is painted dark blue on the inside and on the outside
there are prints of enlargements you can see on the
edge. The inner small circle symbolizes the centre of
the plate, and because of that it is painted in a lighter
blue. The pavilion gives the visitor access to the world
of the plate. The pavilion architecture exemplarily
shows how to deal with objects without attracting
attention at first glance, how to translate them in
space, and how to tell the stories behind.
RENDERING OF THE OUTSIDE — MODEL OF THE INSIDE
104
105
2ND RUNNER UP
Talitha Lenaerts
Interior Architecture, Hasselt University
--------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------
MUSEUM WITHOUT BORDERS
M A N Y C O U N T R I E S – O N E M U S EU M
THE PAVILION CAN BE LOCATED IN ANY CHOSEN EUROPEAN CITY
106
The priority of this project is to release museum
from walls and also speak to people in a language,
which is well-known in the present world of high
advanced technologies. The developed idea uses a
simple cube-pavilion, which can be located in each
European city. People can walk in and experience
a completely different impression. The impression of
being together with other people who are actually in
cities located thousands of miles away. They can
admire exhibits from their own city but also exhibits
from other places in Europe. This way of presentation
and also unusual location of pavilions will engage even
people who are not interested in museums.
The system of communication between pavilion
is based on the hidden cameras and huge projectors
covering whole surfaces inside the pavilions, on the
floor there is also a projector. It shows which pavilions
in Europe are active, in other words: in those where
there are actually people. Thanks to this, users can
see what is happening inside the pavilions that are
located in different cities. The most interesting part
of the project is a 3D projection which presents also
an exhibit. It can be easily sent to the other cities by
the touch of users. This way people can acquire
knowledge while having fun and playing games with
users from different cities.
In this pavilion people from different parts of
Europe can meet each other in one virtual space.
In each cube only one permanent exhibit is located
but they can see and admire exhibits from other
places without travelling. The idea uses new means
of expression thanks to the message that is attractive
to a wide audience. Presented objects can be changed
according to needs. The whole concept was developed
in the way that allows to speak about important things
in an easy way and simplify the exchange of thoughts
between varied nationalities.
107
2ND RUNNER UP
Klaudia Koziel, Karolina Batóg
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ORIENT AND OCCIDENT
A N I N N O VAT I V E LO O K B A C K AT T H E O R I G I N S
The object on which the exhibition is based is an
Islamic oil lamp dating from the 10th century originating
in the area of contemporary Iran. It is remarkable that
the object has been in Europe for a long time, and
has accordingly travelled a long way, and has an
impressive history. Within the exhibition, the history
of the lamp is conveyed to other areas that are
connected to it by a historical event.
The period from which the lamp originates was
the heyday of Arabic culture, when the knowledge of
other cultures and eras was translated and enhanced.
With the Islamic expansion, this knowledge reached
Europe where, in turn, it was adapted and formed
the basis for numerous scientific accomplishments.
This adaption and advancement of knowledge is
the central topic of the exhibition.
In five theme rooms covering topics like
“medicine”, “astronomy” or “chemistry”, the visitor
employs technical devices in order to see the exhibits
from the Arabic Middle Ages. The ancient Arabic
knowledge becomes visible by the new European
technology that had been derived from it and the
visitor obtains an unusual perspective on European
history and development. Through the staged
confrontation of old Arabic and modern European
scenes, the visitor experiences various changes of
perception and position.
In the intermediate rooms that connect the
theme rooms, the visitor hears interviews on the
topic of the exhibition with people from various
backgrounds – among others European and Arabic
natural scientists, medical doctors, Islam scientists
or medievalists. The visitor thus learns how the
Arabic culture's knowledge reached Europe and
what would originate from it. The state of knowledge
of that time is compared with today's, thus illustrating
the progressiveness of the Arabic culture and its
influence on European science. The different views
elucidate the background and the context between
the exhibits and the issue of cultural encounter. In
addition, they establish a relationship to the current
discussion regarding Europe and the Arabic-Islamic
culture. The visitor encounters different perspectives,
which may change or widen their own.
THE ASTRONOMICAL EXHIBIT IS PROJECTED BY TELESCOPIUM — THE EXHIBIT APPEARS BY THE USE OF ULTRASONICS — ATTACHED TO A LIGHT BOX THE
EXHIBIT FROM THE ULTRASONIC-ROOM CAN BE SEEN COMPLETELY — MODERN AND ANCIENT HOSPITAL SCENES FACING EACH OTHER
108
109
2ND RUNNER UP
Nadja Borer
---------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------
SECOND LOOK
T H I N K O U T O F T H E B OX
It only takes one-tenth of a second for a first
impression – after only this short time you automatically
make up your mind about an object, a person or a
statement. In the installation “Second Look” you will
have the possibility to take a closer look to understand
things, since not everything is always that obvious at
first sight.
In 2014 one single person caused a total
change of perspective all over Europe and aroused a
great discussion on a controversial subject. This
happened at an event, which gave everyone the
feeling as if it had been created especially for this
certain message: “more tolerance to everyone”, which
was spread at the Eurovision Song Contest by
Conchita Wurst, winner of the contest in 2014. With
this installation, we would like to show that you often
need more information and a closer look at certain
topics in order to understand them completely, it is
not enough to trust your eyes or other people’s
opinion. Think out of the box, and review your first
impression. So we decided to show a flag with a
picture of Conchita Wurst and a statement you need
to read twice: at first sight you will read “END OF
EUROPE” but while taking a closer look you will
discover the smaller letters between the lines which
change the statement completely into “This is the
END OF intolerance in EUROPE”.
The installation will deal with the following
subjects: Uprising in Europe; Pegida, Je suis Charlie,
Ukraine, Grievance: the history of the object of the
Saint‘s figure, Conchita Wurst: the art character,
Reactions throughout Europe: during and after the
ESC, Travesty: origin and spreading, Beauty ideal:
Europe – what is beautiful?, Women‘s movement:
revolution within the church, Revolution in Europe:
human rights.
The visitor can discover these topics in eight
boxes, which can be opened. The inside provides
items, videos, and sound materials... A revolt, a
rebellion, an uprising, a carination, a struggle for
freedom, a change, a milestone – we are literally
stacking different aspects on each other, packing them
into boxes and giving each visitor the chance for a
second impression; a second look.
EIGHT BOXES ALLOW THE VISITOR TO DISCOVER TOPICS WITH EUROPEAN RELEVANCE AND OFFER THEM A SECOND LOOK
110
111
2ND RUNNER UP
Verena Kassar, Julia Tintelott
-------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------
THE LITTLE MERMAID
A MY TH WITHOUT BOUNDS
Ariel – that’s Disney, it is the memory of a time when
people filled their boards with clumsy VHS cassettes.
But people rarely established a connection between
the classical Disney movie from 1989 and the fairy tale
by Hans Christian Andersen or Rusalka, an opera by
Antonin Dvořák. It is widely unknown that Disney’s
Ariel is based on the incident that Ron Clements got
hold of Hans Christian Andersen’s novel in 1985.
Inspired by the story of Den lille Havfrue the first draft
of a script followed afterwards.
Based on the exemplary centrepiece of this
installation – an Ariel Barbie – some of the more
important adoptions of the myth of the mermaids
should get examined. Film clips, textual information
and music make the diversity of interpretations of
that myth accessible to the visitors. Visitors are
welcomed by a number of filled fish tanks of different
dimensions filled with water and placed on custommade bases in anthracite of different levels. The vision
of marine phosphorescence impaired by the water
symbolizes the liquefaction and boundlessness of the
traces leading to the origins of the mermaid myth.
The installation is accompanied by selectively placed
music sequences of the shown movies and the opera.
The harmonic interaction of water, light and sound
causes a marine atmosphere and leaves you longing
for the sea.
Desire itself becomes the central motive which
all of the examined creatures of the myth have in
common. But they all long for different things. So by
turns, love, the acquisition of a soul or simply the lust
to see the mortals doomed serves as longing. It will
be a surprise for the visitors, to see which kind of
backgrounds a simple plastic toy, arisen from a Disney
movie, possesses. Especially the fact that an American
cartoon character actually has its roots in the sprawling
European Mythology will be big news. Ariel will open
a lot of new perspectives to the visitor after they have
experienced this presentation.
CENTERPIECE OF THE INSTALLATION: ARIELLE BARBIE — FRONTAL VIEW ON THE WHOLE INSTALLATION
112
113
2ND RUNNER UP
Agnes Bonfert, Moritz Ohlig
Design & Communikation / Exhibition Design, FH Joanneum, Graz
-----------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------
VENI – VIDI – VICTUS*
OF MEN AND (GAMING) PIECES
A EU R O P E A N H I S TO R Y I N T H E M I R R O R O F T H E C H E S S P I E C E S
Present day museum and exhibition room design calls
for new dramaturgies. The increasing mediatisation
requires new access options for the long-serving
exhibits; a change of perspectives is necessary on the
part of visitors, curators and spatial designers. By
means of the “bread chess”, the multi-perspective
exhibition “veni – vidi – victus” demonstrates a
potential new form of museum dramaturgy. The
peculiar fascination emanating from every single
main exhibit is re-interpreted and illustrated.
A political prisoner manufactured the “bread
chess” in 1941/1942 in Ljubljana, Slovenia, during
his imprisonment. Why does a detainee ration his
frugal meal in order to form chess pieces from it?
How are these connected to human beings in general
and what does this signify in the European context?
The chess pieces in Europe have undergone a change
that bears an interesting association with the general
development of the European society. The chess
pieces turn into a mirror of the society in Europe from
the royal court of Charlemagne to the prison cell of
the inmate in Ljubljana. The exhibition “veni – vidi –
victus” presents a chess piece history that is
intrinsically tied to historical characters to the visitor.
The “bread chess” creates a multi-perspectival access
for the visitors who perform a change of perspective
themselves. An object simultaneously tells two
stories, that of the chess pieces and of Europe.
Stimulated and pensive, the visitor leaves the
exhibition with the question: Am I just a chess piece
in some system as well?
*Latin: I came, I saw, I conquered / checkmate
VIEW FROM THE BEGINING OF THE EXHIBITION — VIEW INTO THE ROTONDA WITH THE BREAD CHESS PIECES — VIEW FROM THE END OF THE EXHIBITION
114
115
2ND RUNNER UP
Yeliz Kartal
---------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------
WHAT THE BELL?!
T H E S O U N D O F EU R O P E
Church bells have been chiming all over Europe for
centuries. This characteristic sound rings out on the
full hour, accompanies Christian traditions and special
occasions. But why are the bells still chiming even
though we do not depend on their communicative
function any longer? What makes bells, in particular
their sound, so special that it has endured for centuries
and what effect does it have on us? These are the
questions, the exhibition “What the Bell?!” addresses
and tries to explain from different points of view.
“Change of perspective” as a means of expression
in the exhibition “What the Bell?!” signifies that the
object is observed from new, unusual and manifold
points of view. Aspects become apparent that are
not obvious at first glance.
Starting with one of the oldest still existing
bells in Europe, the 12th century Bulgarian church bell
of Alexius Slav, the question: what makes bells and
their sound so special, is thoroughly examined. Bells
toll on numerous occasions, but their correlation
to the event is not always obvious. They fulfil a
message function, yet in today’s medial era there is
no longer any need for this. However, something
happens to us when church bells ring – and the
question “why?” permeates the exhibition. The visitor
searches for the answer throughout the course of the
exhibition that introduces to the pealing of the bell
by sensual experiences.
The visitor enters the first room whose walls
display pictures of occasions on which bells toll; the
bell in the centre serves to reflect on them. In
the following room, he can experience background
information on the origin, function and sound of church
bells both in an audio and visual way. Then three
large walk-in bells acquaint the listener with specific
aspects of the peal of bells. Next he is taken on an
acoustic journey through the pealing of bells throughout
Europe. How do bells sound in Spain, Belgium or
Russia? Information on the materiality as reason for
the silencing of the bells in wartime is illustrated in
the second last room. “What the Bell?!” is an exhibition
on the significance of the pealing of bells – on a sound
that has accompanied us for centuries, that knows
no borders and characterises a whole continent.
FIRST EXHIBITION ROOM WITH PROJECTIONS ON THE WALLS DISPLAYING OCCASIONS WHEN BELLS TOLL.
THE CENTERPIECE, THE BULGARIAN CHURCH BELL OF ALEXIUS SLAV, SERVES TO REFLECT THE EUROPEAN OCCASIONS
116
117
2ND RUNNER UP
Liliane Blösch
EPI
LOGUE
PAMELA C. SCORZIN: SCENOGRAPHIC BRANDING
AS A NEW METHOD AND A CREATIVE TOOL FOR MUSEUMS
EXHIBITING EUROPE IN A GLOBALIZED ERA
SCENOGRAPHIC BRANDING
AS A NEW METHOD AND CREATIVE TOOL FOR MUSEUMS
-------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------
E X H I B I T I N G EU R O P E I N A G LO B A L I Z E D E R A
Many of the submissions for the first EMEE Young
Scenographers Contest have demonstrated how
contemporary scenography has more and more
become an umbrella term for multifarious multi-media
artistic and design practices predominately concerned
with matters of staging and enacting, story-telling,
dramatizing, educating and emotionalizing, even in
today’s museum and gallery spaces.
In sum, scenography conceptually considers
structures and settings, lights and projections, sound,
smells or props as well as costumes in relation to
space and content, such as objects or scripts and
texts, acting or performing bodies, and last, but
not least, the audience as participants. Thus, by
translating contents synaesthetically, and herewith
allowing special atmospheres to develop, by
evoking spatial images that arise from theatrical
and/or artistic concepts, and by leading the audience
step by step to the core of an alluring narrative,
efficient encounters between exhibits and museum
120
visitors can be created and hereby aesthetically
formatted. It allows exhibited artefacts and objects
to be individually (re-)interpreted and experienced with
all the senses of the human body, by means of
interaction and immersion in a predominantly nonlinear and multi-perspective way: This can be
considered as the new holistic approach and highly
innovative dimension of today’s scenography as an
effective agency in a globalized museum world, which
efficiently translates and connects. The exhibits
displayed in such a transnationally and inter-culturally
crosslinking way then function as hubs and nodes
within a larger network of social communication and
cultural exchange.
In this newly networking and integrating
scenography – as in its formative tradition of the
total work of art, the so-called “Gesamtkunstwerk”
(Gottfried Semper & Richard Wagner) – different
(new and old) media and creative practices blend,
interact and synthesize rather than being brought into
121
EPILOGUE
Pamela C. Scorzin
Milan, April 2015
122
At the same time, it can be stressed, that
scenography is also a significant visual strategy as
well as an efficient creative method and popular
marketing instrument for triggering attention and
special appreciation for exhibits or collections on
display. Thus, increasing numbers of museums and
galleries use scenography as a new successful
branding tool, for example, for conveying core
issues such as the idea of a European identity,
authenticity and heritage. Brand Culture and
Scenographic Branding strategies, on the whole,
have become crucial characteristics of the current
design system. Scenographic Branding is being
used in a variety of ways nowadays, and can even
be successfully implemented to the world of cultural
institutions and museum spaces, as the various
contributions for the first “Young Scenographers
Contest” have demonstrated.
Exhibiting and staging objects, presenting
deep information on them by ways of scenic
storytelling, and especially emotionalizing, have
become very popular for a broader audience during
the past few years. Moreover, designing cultural
experiences today is about setting the stage and
allowing the audience partially to participate in the
scripted story by way of providing a rather pluralistic
and multi-perspective way to interact with it in a highly
sensual, as well as a cognitive mode in the end. Most
contributions for the first “Young Scenographers
Contest”, launched and organized by the internationally
renowned scenography agency Atelier Brückner within
the on-going EU research project EMEE, actually have
dealt with those exciting new methods and salient
rhetoric as well as mesmerizing aesthetics of this
new innovative Scenographic Branding in our
contemporary globalized museum world, and thus
have developed some striking creative solutions
for experiencing and appreciating diverse cultural
artefacts as constitutive elements of the historically
interwoven local, regional, national and European
collective memory.
123
EPILOGUE
mere opposition to, or competition or rivalry with,
one another. This kind of holistic scenography crafts
museum spaces primarily generated from their
content and information, and it is herewith more
than just the sum of its various design practices.
In fact, as an all-encompassing visual-spatial and
temporal construct, scenography has somehow
become the epitome of our current “convergence
culture” these days. And, scenography can also be
seen as a highly inter-disciplinary, trans-generic, intermedial, cross-modal and poly-sensual approach to
creating entire new museum spaces, stages and
events for a new understanding, a salient (re-)
interpretation and subtle validation of artefacts from
a heterogeneous and complex, yet interrelated,
cultural origin, that builds the idea of European unity.
-------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------
IMPRINT
IMPRINT
Thanks to all partners for their support!
124
125
Bibliographic information published by the Deutsche
COORDINATOR OF THE PROJECT
CONCEPTION, ORGANIZATION AND IMPLEMENTATION
EDITING Linda Greci, Ruiting Zhang – ATELIER BRÜCKNER,
Nationalbibliothek. The Deutsche Nationalbibliothek lists
Prof. Dr. Susanne Popp, Chair of History Didactics,
OF THE EMEE YOUNG SCENOGRAPHERS CONTEST
Susanne Schilling – University of Augsburg
this publication in the Deutsche Nationalbibliografie;
University of Augsburg,
Linda Greci M.A., Prof. Uwe R. Brückner
detailed bibliographic data are available in the Internet at
Universitätsstraße 10, 86159 Augsburg, Germany
ATELIER BRÜCKNER
PUBLISHER FOR EMEE
http://dnb.dnb.de.
www.museums-exhibiting-europe.de
[email protected]
www.emee-young-scenographers-contest.eu
Susanne Popp, Günther Friesinger, Susanne Schilling
ISBN 978-3-902796-28-8
PROJECT PARTNERS
ATELIER BRÜCKNER GmbH, Germany
CONCEPT AND DESIGN OF THE TRAVELLING EXHIBITION
This project has been funded with support from the European
National Museum of History, Bulgaria
Linda Greci M.A., Prof. Uwe R. Brückner
Commission. This publication reflects the views only of the
University Paris-Est Créteil, France
ATELIER BRÜCKNER
author, and the Commission cannot be held responsible for
University Degli Studi Roma Tre, Italy
any use which may be made of the information contained
National Museum of Archaeology, Portugal
therein. This catalogue was developed in the scope of the
National Museum of Contemporary History, Slovenia
project “EuroVision – Museums Exhibiting Europe (EMEE)”.
Kunstverein monochrom, Austria
PUBLISHING HOUSE
edition mono/monochrom
Zentagasse 31/8, 1050 Vienna, Austria
IMPRINT
CATALOGUE OF THE TRAVELLING EXHIBITION
[email protected]
EDITOR Linda Greci M.A., Prof. Uwe R. Brückner
ATELIER BRÜCKNER
MAI 2015
LAYOUT Sabine Hibler, Dominik Pfeifer
COPYRIGHT
ATELIER BRÜCKNER
ATELIER BRÜCKNER GmbH
This paper is available under the Creative Commons
126
BOOKLET CONCEPT Sabine Hibler, Prof. Uwe R. Brückner,
Attribution-NonCommercial-NoDerivatives; additional
Linda Greci M.A. – ATELIER BRÜCKNER
terms may apply.
Günther Friesinger, Kerstin Halm – monochrom
http://creativecommons.org/licenses/by-nc-nd/4.0/deed.en
127

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