![\"\"](\"https:\/\/sybir.bialystok.pl\/wp-content\/uploads\/2024\/05\/EMYA_PORTUGALIA_01.05.2024-9.jpg\")
<\/a><\/figure>\n\n\n\n<\/a><\/figure>\n\n\n\n<\/a><\/figure>\n\n\n\n<\/a><\/figure>\n\n\n\n<\/a><\/figure>\n<\/figure>\n\n\n\nBetween the museum building and the quay, remnants of the former lifting system used to transport baskets of sardines from the boats into the factory can still be seen. Today, these baskets, illuminated with white lights after dusk, resemble picturesque lanterns.<\/p>\n\n\n\n
Today, all that remains of the former factories are tall brick chimneys, many of which are now inhabited by the numerous storks that nest in the area. The decline of the sardine industry began after the fall of the regime fifty years ago, when the residents of Portim\u00e3o gradually turned towards the development of tourism. \u201cMy grandparents worked in a sardine factory. They were relieved when it closed down \u2013 it was extremely hard work, especially under the pressure of the regime,\u201d said an employee of the Portim\u00e3o municipal office during informal conversations at the opening of the conference. Today, the only reminders of the town\u2019s sardine industry are the menus of local restaurants and the traditional tins of fish sold in the museum shop.<\/p>\n\n\n\n During the opening evening at the Museu de Portim\u00e3o, speeches were delivered by Deputy Mayor Teresa Mendes, Ant\u00f3nio Apolin\u00e1rio, Minister of Culture of the Algarve Region, and Ant\u00f3nio Ramirez, representing the sixth generation of a family of fish processors. His company, the Ramirez Canning Company, later acquired the historic La Rosa brand, under which sardines were once produced in the very hall that now houses the museum. The remainder of the evening was spent in conversations with other participants of the Forum.<\/p>\n\n\n\n The main conference programme began on the morning of 2 May. This year\u2019s theme was \u201cMuseums in Pursuit of Social Impact\u201d, and the role of museums in shaping contemporary societies appeared as a recurring topic in many presentations.<\/p>\n\n\n\n The session was opened by Jos\u00e9 Gameiro and Joan Roca i Albert, President of the European Museum Forum.<\/p>\n\n\n\n Joan Roca i Albert, who is also the Director of the Barcelona City History Museum, recalled the figure of Kenneth Hudson, founder of the Forum and originator of the EMYA awards:<\/p>\n\n\n\n \u201cHe conceived these awards in the generally optimistic atmosphere of the late 1970s, when the expansion of the welfare state was widely anticipated and the role of culture within civil rights was growing,\u201d said Roca i Albert. \u201cThe awards were founded on values such as supporting, encouraging, rewarding and showcasing excellence and innovation in the museum sector. At that time, very few organisations and museums had such ambitions. Today Hudson\u2019s 1987 book Museums of Influence is considered a classic.\u201d<\/p>\n\n\n\n \u201cOver the past twenty years we have witnessed many changes that have affected the role of museums, including the financial crisis, technological transformations and, more recently, the pandemic, the rise of authoritarianism and the return of war to Europe. In this context, the challenge for the European Museum Forum and the EMYA Awards is to remain relevant and useful in difficult times. This was also emphasised two weeks earlier when the Council of Europe Museum Prize was awarded in Strasbourg, the city where the Council of Europe was founded in 1948,\u201d he continued.<\/p>\n\n\n\n \u201cThe interaction between the Council of Europe and the European Museum Forum, together with organisations such as ICOM, is now more necessary than ever. The struggle for dignity and freedom can play a crucial role in defending human rights in museums and schools. This is why the EMYA awards remain so important. They are the oldest and most prestigious museum awards in Europe, and the winners are selected by the EMYA jury.\u201d<\/p>\n\n\n\n \u201cIt is essential to preserve the conditions that allow museums to develop and become strategic spaces for knowledge, human rights, social inclusion and cultural democracy. Among the key factors are intellectual research, institutional autonomy and support from the city and its citizens,\u201d emphasised Joan Roca i Albert.<\/p>\n\n\n\n \u201cA museum that does not devote itself to in-depth research may become merely a cultural attraction and will not generate the innovation that allows us to rethink the world. This role of research \u2013 which cannot be limited only to the study of objects and artefacts \u2013 requires museums to be clearly recognised as centres of knowledge,\u201d he reiterated, repeating the message he had previously delivered in Strasbourg.<\/p>\n\n\n\n \u201cIn times of growing authoritarianism, the intellectual autonomy of museums, just like that of universities, is essential. In this respect, the Council of Europe can count on the support of the European Museum Forum, ICOM and UNESCO,\u201d he added.<\/p>\n\n\n\n \u201cWhen states were not yet fully consolidated in the Middle Ages, cities formed the backbone of Europe,\u201d he said, quoting the words of Leonardo Benevolo. \u201cThe role of local authorities and the involvement of citizens in safeguarding cultural rights are fundamental for museums, helping them avoid both excessive and undesirable state control as well as unwanted privatisation,\u201d Roca i Albert noted.<\/p>\n\n\n\n \u201cThis is precisely the role of the EMYA awards: together with other organisations, they promote the changes necessary to protect museums from authoritarianism and commercialisation for as long as possible,\u201d emphasised the head of the European Museum Forum.<\/p>\n\n\n\n After the official introduction, Amina Krvavac, Chair of the Jury and a member of the Forum\u2019s Board of Trustees, took the floor and presented this year\u2019s nominees as well as the themes of the panels, in which the museums were grouped according to their areas of activity.<\/p>\n\n\n\n Shortly afterwards, the museum presentations began within the individual panels. Each institution was given seven minutes to present its work \u2013 within this time limit, it was also possible to show a short film. After all the presentations, museum representatives took part in a short discussion with one of the jurors on topics proposed by the jury.<\/p>\n\n\n\n On Thursday, the panel titled \u201cMuseums as Places of Action\u201d included, among others, the Estonian Sports and Olympic Museum, as well as the small Bici Lab from Andorra, dedicated to the concept of \u201cbicycles as jewellery\u201d. The ZOOM Children\u2019s Museum in Vienna presented an interesting programme that takes museum activities beyond the museum building and into the city \u2013 to playgrounds, schools and kindergartens \u2013 in order to reach children whose parents might never think of taking them to a museum. The Hungarian Money Museum in Budapest also presented its educational offer. Meanwhile, the director of the Me\u0111imurje \u010cakovec Castle Museum spoke about the great satisfaction she derives from the trust local residents place in museum professionals.<\/p>\n\n\n\n The panel \u201cDiscovering New Dimensions of Industrial Heritage\u201d featured presentations by the Salt Museum in Messolonghi (Greece), the Museum of Making in Derby (United Kingdom), the Covilh\u00e3 Museum (Portugal), the Museum of Glass and Jewelry in Jablonec (Czech Republic) and the Dutch Shoe Quarter in Waalwijk. At the latter museum, visitors can not only learn about the cultural role of shoes and the history of their production, but also take part in workshops led by experienced craftspeople, learn design and shoemaking techniques, attend fashion shows or view works created during artist residencies.<\/p>\n\n\n\n The panels were interspersed with longer presentations by museums that had received awards the previous year. The director of L\u2019ETNO \u2013 the Valencian Museum of Ethnology, which won the EMYA 2023 award \u2013 spoke about the impact the prestigious prize had on this relatively small institution, which works very closely with the local community.<\/p>\n\n\n\n \u201cThis award helped my team enormously. The staff felt that their work was important and appreciated,\u201d said Joan Segu\u00ed Segu\u00ed.<\/p>\n\n\n\n Another panel was titled \u201cChanging Perspectives: Who Owns the Narrative?\u201d. It featured museums whose mission is to give voice to different communities and social groups, as well as to recall forgotten histories with many protagonists. Among them was the SIIDA S\u00e1mi Museum, whose representatives appeared in colourful traditional costumes while explaining how important it is for their community to have its own museum.<\/p>\n\n\n\n Participants also learned about the Kalamaja Museum, which is co-run by the residents of the district it presents. Although the museum initially struggled to gain the trust of local people, it has now become an important meeting place for the neighbourhood. The panel also included presentations by the Jewish Museum in Frankfurt, the Dutch Resistance Museum in Amsterdam and FLUGT \u2013 the Danish Refugee Museum in Oksb\u00f8l. The latter institution has creatively arranged the space of a former camp for German refugees fleeing the advancing Red Army.<\/p>\n\n\n\n Polish juror Dominika Mroczkowska-Rusiniak (an interview with her about EMYA and contemporary museums can be found on our website) led the panel titled \u201cNavigating the Digital Frontier\u201d. The panel featured institutions that extensively use modern technologies in their exhibitions and educational activities in order to bring the past closer to contemporary audiences or to present heritage that cannot physically be displayed in a museum. \u201cOur exhibits cannot be seen in person \u2013 they lie at the bottom of the Baltic Sea. However, we managed to give visitors a sense of direct contact with these traces of the past,\u201d said a curator from the Vrak \u2013 Museum of Wrecks in Stockholm.<\/p>\n\n\n\n The specialist responsible for the digital transformation of The Burrell Collection in Glasgow described how the museum evolved from a traditional display of decorative arts into an immersive visitor experience. \u201cI didn\u2019t want visitors to enter another room and say: \u2018Oh, another damn carpet.\u2019 That\u2019s why today the floral patterns on one of the carpets \u2018come to life\u2019 thanks to digital projections, and numerous screens allow visitors to examine details of objects that are protected in display cases.\u201d Representatives of the Netherlands Institute for Sound and Vision in Hilversum, the Istanbul Cinema Museum and the private NARC Museum \u2013 founded by Millennium BCP Bank and presenting an archaeological site located beneath its headquarters on one of Lisbon\u2019s main streets \u2013 also discussed their ideas for using new media in museum practice.<\/p>\n\n\n\n Thursday\u2019s panel discussion focused on \u201cHistory Meets Contemporary Society.\u201d Presentations were given by the Burgdorf Castle Museum in Switzerland and the Archaeological Museums in Chania (Greece) and Larnaca (Cyprus). The Royal Treasury in Lisbon showcased its recent transformation and stunning jewels, while the Museum\u2013Abbey of Wettingen (a large complex of a former Cistercian monastery) in Aargau demonstrated how philosophical questions about life\u2019s most important issues can attract younger audiences.<\/p>\n\n\n\n The first day of the conference \u2013 intense, filled not only with presentations but also with informal conversations and discussions \u2013 ended with a trip to the neighbouring town of Alvor, once a fishing village. The local coastguard headquarters has been transformed into an interpretation centre presenting the former realities of fishermen\u2019s daily work in the region. Gathered in the memorial room (or rather in front of it, as the building is very small), conference participants listened to memories of the recently deceased member of the Board of Trustees of the European Museum Forum, Kimmo Antila.<\/p>\n\n\n\n Friday, 3 May, could easily be described as \u201cPolish Day\u201d at EMYA 2024. Our presentation, as the winners of the 2024 Council of Europe Museum Prize, opened the Friday proceedings. We had half an hour to present our activities.<\/p>\n\n\n\n The presentation was opened by the Director of the Sybir Memorial Museum, Prof. Wojciech \u015aleszy\u0144ski:<\/p>\n\n\n\n \u201cThe Sybir Memorial Museum is important not only for us, the residents of Bia\u0142ystok, but also for all people living in this part of Europe,\u201d he began.<\/p>\n\n\n\n \u201cLet us remember that at the beginning of World War II, Poland faced two aggressors. In September 1939 they divided not only the Second Polish Republic, but the whole of Eastern Europe between themselves. Both eastern Poland and the Baltic states were taken over by the Soviets,\u201d he emphasised.<\/p>\n\n\n\n \u201cLet us remember not only the Nazi camps, but also the Soviet labour camps and the deportations,\u201d he appealed to the audience.<\/p>\n\n\n\n The historian briefly presented the mission and the permanent exhibition of the Sybir Memorial Museum. He noted that the institution enjoys strong support from the city authorities. He concluded his speech with the following words:<\/p>\n\n\n\n \u201cWhen we opened our museum, we felt that we were recounting events from the past. Today, after Russia\u2019s aggression against Ukraine, it turns out that we are speaking about mechanisms and phenomena that are still present. Unfortunately, history has repeated itself.\u201d<\/p>\n\n\n\n Paulina Cylka, jointly responsible for the museum\u2019s communications and public image and the author of the EMYA competition application, presented the museum\u2019s wide range of activities, with particular emphasis on cooperation with the Sybirak community.<\/p>\n\n\n\n \u201cThey are the heart of our museum, and we emphasise that the Council of Europe Museum Prize is also a recognition of their testimony. We do everything we can to carry their story forward and support them and their descendants in preserving the memory of Siberia.\u201d<\/p>\n\n\n\n The audience reacted vividly to the moving and emotional story. Participants learned about projects such as the Sybir Memorial Run and the \u201cI Run for a Sybirak\u201d campaign, watched a film about the \u201cPackage for a Sybirak\u201d initiative, and heard about Sybiraks who share their personal experiences with museum visitors. They also learned about young travellers who follow in the footsteps of their ancestors and later share their journeys with audiences at the museum. There was also a presentation of the Siberian Ambient Salon, which attracts young people, as well as the temporary exhibition \u201cOnly Pain Is Mine\u201d, with its rich thematic programme and accompanying events.<\/p>\n\n\n\n \u201cWe use many forms \u2013 from conferences, publications and exhibitions (including those co-created by Sybiraks), through artistic installations, performances and concerts, to events combining sport with commemoration,\u201d said Paulina Cylka. \u201cIn this way, we try to connect the residents of Bia\u0142ystok, the region and the whole of Poland with Sybiraks and their stories.\u201d<\/p>\n\n\n\n The presentation by representatives of the Sybir Memorial Museum received a standing ovation. From that moment on, we were showered with congratulations \u2013 not only for the awards, but also for our well-prepared presentations. During the breaks between panels, many participants approached us with interest and questions. Admiration for the Bia\u0142ystok institution grew even further after the presentation by Piotr Pop\u0142awski, PhD in the panel devoted to \u201cThe Difficult Past and Its Contemporary Legacy.\u201d<\/p>\n\n\n\n As part of this panel, the Z\u00e1me\u010dek Pardubice Memorial was presented \u2013 a site of Nazi crimes that was only properly developed after the fall of communism. Today, a small but dedicated team carries out extensive educational activities there.<\/p>\n\n\n\n Another example was the 1902 Disaster Memorial \u2013 the Frank A. Perret Museum in Martinique, which commemorates the catastrophic volcanic eruption that decimated the island\u2019s population in 1902. An American geologist founded the museum years ago, and the exhibits once included skulls of the victims. After a recent renovation, the museum now tells the story of the tragedy through objects \u2013 melted bottles and even church bells make a powerful impression. A separate memorial section lists the victims of the disaster, paying them the respect they deserve.<\/p>\n\n\n\n An excellent presentation was delivered by \u0141ukasz Mrozik, representing the Museum and Memorial Site in Sobib\u00f3r \u2013 German Nazi Extermination Camp. He began with a powerful question: \u201cHow can we show the horror of an extermination camp in a place where virtually nothing of the camp remains?\u201d<\/p>\n\n\n\n The audience fell silent as he spoke about extensive archaeological research and the design of the space so that visitors can understand the structure of the camp and the path taken by victims to the gas chambers despite the absence of original buildings. Finally, he presented photographs of objects that helped restore the identities of some of the victims. The sight of rusty keys and nameplates from apartment doors was particularly moving. \u201cDutch Jews took these plates with them, believing they would attach them to their new homes, which they were convinced they were travelling to,\u201d said Mrozik.<\/p>\n\n\n\n The atmosphere in the audience at the TEMPO Theatre was equally tense during the presentation of the National Museum of the History of Ukraine in the Second World War in Kyiv. Its director, Yurii Savchuk, showed how the museum has responded to the ongoing war \u2013 by securing its collections, honouring the fallen, and organising temporary exhibitions that combine documentation of Russian war crimes with contemporary artistic installations.<\/p>\n\n\n\n When it was time to present the Sybir Memorial Museum, Piotr Pop\u0142awski, PhD made spectacular use of his seven minutes. He focused on a case study and presented Peleton Pami\u0119ci (Memorial Peloton), a project he has been developing for four years.<\/p>\n\n\n\n He described how the initiative grew from a small bicycle ride through the city with a few participants into an international event involving several countries. The audience responded with great interest \u2013 and even gratitude \u2013 as Pop\u0142awski, PhD spoke with energy and balanced humour about the challenges of working with local communities.<\/p>\n\n\n\n \u201cThe work of museum professionals can be extremely demanding, and the results are not always immediate. The key to success is openness, flexibility and cooperation. In the case of the Memorial Peloton, these elements not only contributed to the development of the event but also became values that inspire people in different countries who share similar historical experiences.\u201d<\/p>\n\n\n\n During the break after the panel, Pop\u0142awski, PhD received numerous congratulations for his excellent presentation.<\/p>\n\n\n\n On the same day\u2014Friday\u2014the panel \u201cMuseums in Search of New Connections\u201d also took place. Institutions such as the National Museum in Lublin, the Museum of Czech Literature in Prague, the Museum of Border Folklore (MUSEF) in Mouscron (Belgium), Villa Bernasconi in Grand-Lancy (Switzerland), and the \u00d6sterg\u00f6tland Museum in Link\u00f6ping (Sweden) presented their work.<\/p>\n\n\n\n Under the theme \u201cSpace, Place, Agenda,\u201d presentations were given by Villa Freisch\u00fctz \u2013 House Museum in Merano (Italy), the Centre D\u00fcrrenmatt in Neuch\u00e2tel (Switzerland), the Museum of the Home in London, and the Pau Casals Museum in El Vendrell (Spain). Our attention was particularly drawn to the Luostarinm\u00e4ki Crafts Museum in Turku, Finland. This is an engaging open-air quarter with typical wooden buildings, now located in the heart of the city\u2014although the richness of its programme and its accessibility do not necessarily correspond with the word \u201copen-air museum.\u201d It immediately brought to mind the Bojary district in Bia\u0142ystok\u2026<\/p>\n\n\n\n Strong highlights also appeared in the panel \u201cReturn to Art: The Past in the Present.\u201d Two Polish institutions were featured: the Rac\u0142awice Panorama Museum (a branch of the National Museum in Wroc\u0142aw), which showcased a spectacular renovation of its building carried out without relocating the famous painting, and the Mazovian Museum in P\u0142ock, with its beautiful new permanent exhibition of Art Deco art. In addition, we saw the National Museum of Art, Architecture and Design in Oslo, which has \u201creinvented itself\u201d as a \u201cpolyphonic museum,\u201d as well as treM.A. \u2013 the Museum of Ancient Art in Namur (Belgium), which carried out its renovation\u2026 essentially with the hands of its own staff.<\/p>\n\n\n\n An interesting programme was presented by the Royal Museum of Fine Arts Antwerp, which not only displays masterpieces of European art but also confronts them with modern works, while encouraging children to visit by installing playful elements in its dignified galleries. It reaches for unconventional solutions\u2014for example, it implemented a project in which visitors had the opportunity to discuss art with visually impaired individuals, whose questions made sighted visitors aware of issues they had previously overlooked.<\/p>\n\n\n\n KMSKA does not shy away from social problems either. \u201cYoung people from various backgrounds used to hang around the museum, and there were issues, including drug use. We hired young staff members who reached out to them with a programme through which they found a space for themselves in the museum. They take part in creative workshops and regularly organise concerts and other events for others,\u201d said Director General Carmen Willems.<\/p>\n\n\n\n A deeply moving presentation was given by a representative of the Khanenko National Museum of Arts in Kyiv, who admitted that she struggled to find the strength and enthusiasm to come to the Forum and speak about her museum:<\/p>\n\n\n\n \u201cI am grateful to be here, but before leaving for Portugal it was very difficult. I asked my colleagues: what am I supposed to tell them? We have empty walls and a damaged building. They said: \u2018Exactly that. Tell them how we do not give up.\u2019\u201d<\/p>\n\n\n\n Her presentation did not include images of smiling families in galleries filled with artworks. Instead, we saw walls marked by dark rectangles where paintings had been removed, museum professionals sweeping up shattered glass\u2026 There was no colourful promotional clip, but rather black-and-white security footage showing how a shockwave from a nearby explosion forced broken windows, clouds of dust, and long, torn curtains into the gallery interior.<\/p>\n\n\n\n Friday at the conference concluded with the panel \u201cScience Matters,\u201d featuring museums dedicated to the popularisation of knowledge: the Giovanni Poleni Museum in Padua, Forum Wissen in G\u00f6ttingen, the ARTIS-Groote Museum in Amsterdam, and the Neanderthal Museum in Mettmann (Germany).<\/p>\n\n\n\n The final highlight of the day was a gathering in a former\u2026 fish market on the banks of the Arade River, near the Museu de Portim\u00e3o.<\/p>\n\n\n\n On Saturday morning, 4 May, the final debate took place\u2014on social justice in museums\u2014along with a presentation of last year\u2019s Kenneth Hudson Award winner: the 23.5 Hrant Dink Site of Memory. The site commemorates Hrant Dink, a journalist and founder of the newspaper Agos, murdered in 2007, who was actively engaged in the democratisation of Turkey.<\/p>\n\n\n\n At noon, certificates of nomination for EMYA 2024 were presented. One by one, representatives of the nominated museums came onto the stage to receive their gold-embellished diplomas and pose for commemorative photographs.<\/p>\n\n\n\n After this part of the programme, most participants of the now concluding conference chose to leave the theatre to enjoy the beautiful weather or rest before the evening awards gala. Some, however, took part in workshops offered, among others, by the Sybir Memorial Museum. The session led by Paulina Cylka and Piotr Pop\u0142awski was titled \u201cThe Thin Line Between Popularisation and Popularity: How Can\/Should Museums Talk About Difficult Topics?\u201d Thanks to the engagement of participants, the meeting became a space for discussion about the boundaries that museums and museum professionals set for themselves and others: what is appropriate (in) a museum? What can we agree to in order to attract audiences, and what would we never do? Which forms of popularisation fall within our limits, and which cross them? What can provoke controversy, and should we be afraid of it?<\/p>\n\n\n\n After the workshop, we received many expressions of gratitude from participants for creating a space for discussion and exchange of ideas. At the same time, everyone agreed that the nature of museum work is universal across all latitudes. Regardless of country or type of institution, we face insufficient budgets, the need for one person to perform tasks across many areas, pressure to attract audiences, and political influences.<\/p>\n\n\n\n Saturday evening brought the long-awaited awards ceremony. The gala, held at the TEMPO theatre, had a truly Oscar-like atmosphere. There was no red carpet or flashing cameras, but the carefully directed event kept the audience in suspense until the very last moments.<\/p>\n\n\n\n The evening began with speeches\u2014from representatives of the European Museum Forum as well as the authorities of Portim\u00e3o. The EMYA jury chair, Amina Krvavac, also took the floor.<\/p>\n\n\n\n The presentation of the winners began with a renewed introduction of the Sybir Memorial Museum, this time by Luz Mart\u00ednez Seijo, a member of the Committee on Culture, Science, Education and Media of the Council of Europe.<\/p>\n\n\n\n \u201cIt is a privilege to be part of the first European institution safeguarding human rights and human dignity,\u201d she began. \u201cToday, I share with you my concern for these fundamental values, as once again we are witnessing open wars in the world. The world does not learn, but we must not give up. And here lies the great role of museums, because of the memory they preserve.\u201d<\/p>\n\n\n\n \u201cToday, I am proud to present the Sybir Memorial Museum in Bia\u0142ystok. I warmly congratulate Professor Wojciech \u015aleszy\u0144ski and his team. This is a remarkable museum that presents stories, memories, and values so close to the Council of Europe. This is why the Committee on Culture selected it as this year\u2019s winner. It offers a powerful image of history and reconciliation, one that resonates with younger generations and helps them understand their history so that it may never be repeated in the future,\u201d she added.<\/p>\n\n\n\n Professor Wojciech \u015aleszy\u0144ski, Director of the Sybir Memorial Museum, once again took the stage.<\/p>\n\n\n\n \u201cIt is an honour and a distinction for our entire team. I would like to express my gratitude to every person who has contributed to our museum,\u201d he said.<\/p>\n\n\n\n \u201cAlthough the Sybir Memorial Museum is a Polish institution, it tells the story of all of Eastern Europe, shaped by the criminal communist regime. This is our shared heritage, which we must not forget,\u201d he emphasised.<\/p>\n\n\n\n Finally, the moment came to reveal the previously unknown winners of EMYA 2024.<\/p>\n\n\n\n Six commendations were awarded first. They went to ZOOM Kindermuseum in Vienna, KMSKA (the Royal Museum of Fine Arts Antwerp), the Memorial of the 1902 Catastrophe \u2013 Frank A. Perret Museum in Martinique, the National Museum of Art, Architecture and Design in Oslo (Nasjonalmuseet), the Museum of Making in Derby, and the Museum and Memorial Site in Sobib\u00f3r (a branch of the State Museum at Majdanek).<\/p>\n\n\n\n In the justification for the Sobib\u00f3r memorial, the jury emphasised the efforts of museum professionals to restore dignity\u2014and, as far as possible, identity\u2014to the victims of this Nazi extermination camp.<\/p>\n\n\n\n After a musical interlude, the accompanying EMYA 2024 awards, funded by partner organisations of the European Museum Forum, were presented.<\/p>\n\n\n\n The Meyvaert Sustainability Award went to the Museum of the Home in London. The institution has transformed from a traditional presentation of everyday life in period interiors into a place for discussion about the idea of home, daily habits, housing, and homelessness. Its staff emphasised how important social and educational activities\u2014as well as cooperation with the local community\u2014have become, especially after the pandemic. One manifestation of this was opening the museum garden to everyone as a shared space for activities.<\/p>\n\n\n\n The Portim\u00e3o Museum Award for Hospitality, Inclusion and Belonging went to the Salt Museum in Messolonghi (Greece). Located in a saltworks operating for centuries, in a lagoon on the Ionian Sea coast, it is rich in both natural and cultural heritage. The museum\u2019s co-founder, while receiving the award in the form of a sculpture depicting greeting figures, struggled to hold back his emotions.<\/p>\n\n\n\n Out of breath, Nikos Kordosis was replaced at the microphone by his wife: \u201cThis is his life\u2019s work. The museum was created out of his love for the place, the landscape, the culture, and salt. He put all his money into it, expecting nothing in return. He loves it more than me!\u201d she joked, amusing the audience. The jury emphasised not only the museum\u2019s extraordinary hospitality and appreciation of visitors, but also its activities supporting the local community and natural environment.<\/p>\n\n\n\n The Silletto Prize for Community Participation and Engagement went to the Kalamaja Museum in Tallinn. This is a small institution focused on preserving the cultural heritage of the Kalamaja district. From the very beginning, it has been co-created with the local community. Sociological and ethnographic research accompanied its development, and residents themselves decided on the shape of the permanent exhibition and the institution\u2019s visual identity. They also initiate temporary exhibitions, workshops, and thematic walks around the district. The curators follow the needs of the residents, thanks to which the museum has become a centre of the local community.<\/p>\n\n\n\n<\/a><\/figure>\n\n\n\n<\/a><\/figure>\n<\/figure>\n\n\n\n<\/a><\/figure>\n\n\n\n<\/a><\/figure>\n<\/figure>\n\n\n\nCan Museums Influence Society?<\/h2>\n\n\n\n
<\/a><\/figure>\n<\/figure>\n\n\n\n<\/a><\/figure>\n<\/figure>\n\n\n\nThe Strategic Role of Museums<\/h2>\n\n\n\n
50 Unique Institutions<\/h2>\n\n\n\n
<\/a><\/figure>\n<\/figure>\n\n\n\n<\/a><\/figure>\n\n\n\n<\/a><\/figure>\n\n\n\n<\/a><\/figure>\n\n\n\n<\/a><\/figure>\n\n\n\n<\/a><\/figure>\n\n\n\n<\/a><\/figure>\n<\/figure>\n\n\n\n<\/a><\/figure>\n<\/figure>\n\n\n\nHow to Show What We Cannot Have in a Museum?<\/h2>\n\n\n\n
<\/a><\/figure>\n\n\n\n<\/a><\/figure>\n\n\n\n<\/a><\/figure>\n\n\n\n<\/a><\/figure>\n<\/figure>\n\n\n\n<\/a><\/figure>\n<\/figure>\n\n\n\nMuseums and Modernity: How to Bring a Collection to Life?<\/h2>\n\n\n\n
<\/a><\/figure>\n\n\n\n<\/a><\/figure>\n<\/figure>\n\n\n\nPhilosophy in the Museum<\/h2>\n\n\n\n
<\/a><\/figure>\n<\/figure>\n\n\n\n<\/a><\/figure>\n\n\n\n<\/a><\/figure>\n\n\n\n<\/a><\/figure>\n<\/figure>\n\n\n\nPolish Day \u2013 Sybir Memorial Museum Day<\/h2>\n\n\n\n
<\/a><\/figure>\n<\/figure>\n\n\n\n<\/a><\/figure>\n<\/figure>\n\n\n\n<\/a><\/figure>\n\n\n\n<\/a><\/figure>\n<\/figure>\n\n\n\nSybiraks at the Heart of the Sybir Memorial Museum<\/h2>\n\n\n\n
<\/a><\/figure>\n\n\n\n<\/a><\/figure>\n<\/figure>\n\n\n\n<\/a><\/figure>\n\n\n\n<\/a><\/figure>\n<\/figure>\n\n\n\n<\/a><\/figure>\n<\/figure>\n\n\n\n<\/a><\/figure>\n<\/figure>\n\n\n\nExcellent Polish Presentations<\/h2>\n\n\n\n
<\/a><\/figure>\n\n\n\n<\/a><\/figure>\n<\/figure>\n\n\n\n<\/a><\/figure>\n<\/figure>\n\n\n\n<\/a><\/figure>\n\n\n\n<\/a><\/figure>\n<\/figure>\n\n\n\nSharing a Success Story<\/h2>\n\n\n\n
<\/a><\/figure>\n\n\n\n<\/a><\/figure>\n\n\n\n<\/a><\/figure>\n<\/figure>\n\n\n\nConnecting the Past with the Future…<\/h2>\n\n\n\n
<\/a><\/figure>\n\n\n\n<\/a><\/figure>\n<\/figure>\n\n\n\n<\/a><\/figure>\n<\/figure>\n\n\n\n<\/a><\/figure>\n\n\n\n<\/a><\/figure>\n\n\n\n<\/a><\/figure>\n<\/figure>\n\n\n\n\u2026and attracting audiences<\/h2>\n\n\n\n
<\/a><\/figure>\n\n\n\n<\/a><\/figure>\n\n\n\n<\/a><\/figure>\n<\/figure>\n\n\n\n<\/a><\/figure>\n<\/figure>\n\n\n\nThe tragedy of Ukrainian museums and museum professionals<\/h2>\n\n\n\n
<\/a><\/figure>\n<\/figure>\n\n\n\nTime for diplomas!<\/h2>\n\n\n\n
<\/a><\/figure>\n\n\n\n<\/a><\/figure>\n<\/figure>\n\n\n\n<\/a><\/figure>\n\n\n\n<\/a><\/figure>\n\n\n\n<\/a><\/figure>\n<\/figure>\n\n\n\nOur workshop: What are our limits?<\/h2>\n\n\n\n
<\/a><\/figure>\n\n\n\n<\/a><\/figure>\n<\/figure>\n\n\n\nSpotlight once again on the Sybir Memorial Museum<\/h2>\n\n\n\n
<\/a><\/figure>\n\n\n\n<\/a><\/figure>\n<\/figure>\n\n\n\n<\/a><\/figure>\n<\/figure>\n\n\n\n<\/a><\/figure>\n<\/figure>\n\n\n\n<\/a><\/figure>\n<\/figure>\n\n\n\nTension is rising…<\/h2>\n\n\n\n
<\/a><\/figure>\n\n\n\n<\/a><\/figure>\n\n\n\n<\/a><\/figure>\n<\/figure>\n\n\n\n<\/a><\/figure>\n\n\n\n<\/a><\/figure>\n<\/figure>\n\n\n\n<\/a><\/figure>\n<\/figure>\n\n\n\nWho cares for the environment, who focuses on visitors<\/h2>\n\n\n\n
<\/a><\/figure>\n\n\n\n<\/a><\/figure>\n<\/figure>\n\n\n\n<\/a><\/figure>\n\n\n\n<\/a><\/figure>\n\n\n\n<\/a><\/figure>\n<\/figure>\n\n\n\nNot just visitors, but friends<\/h2>\n\n\n\n
<\/a><\/figure>\n\n\n\n<\/a><\/figure>\n\n\n\n