Page 108 - EuroVision – Museums Exhibiting Europe (EMEE). The E-book
P. 108

The Mapping Process was an inventory taking activity in the beginning of the EMEE project, selecting and analyzing best practice examples for ‘making Europe visible’ in national and regional museums. Moreover, lists of current research projects and publications about the topics ‘European perspectives in regional and national museums’, ‘bridging the social gap’ and ‘integrating the (non-)visitors’ have been compiled. All in all, the results of the mapping process, which are available on this e-book, provide an overview about the current museum discourse concerning the EMEE topics. The activity was carried out by all EMEE pro- ject partners in the year 2013.
For the EMEE team, a  rst step towards the im- plementation of the concept ‘Change of Perspective’ (COP) was to have a look at the groundwork done in the  eld of research (research projects and publica- tions) as well as the critical analysis of best practice examples, in particular with regard to the COP 1 – Change of Perspective as European re-interpretation of objects – and COP 2 – Change of Perspective as change of perspective between museum experts and visitors (activation and participation).
Especially the best practice examples, which were analysed during about six months of research, provided valuable suggestions for the next steps of the project and also helped to get a clearer focus on aims and priorities of the EMEE project. The Mapping Process was carried out in 7 European countries (Aus- tria, Bulgaria, France, Germany, Italy, Portugal and Slo- venia); however, in some cases, also examples from other countries were added.
With regard to the COP 1 and COP 2, some basic observations of the Mapping Process can be stated:
COP 1: CHANGE OF PERSPECTIVE THROUGH RE-INTERPRETATION OF MUSEUM OBJECTS While looking for best practice examples, the particu- lar dif culty for the participants of the project was the issue of trans-regional re-interpretations of col- lections and the presentation of objects on the basis of multi-perspectivity. It became clear that some of the exhibitions in fact already include trans-regional approaches; however, especially for classic ‘European topics’, there is the risk that again the interpretation is not multi-perspective but subordinated to classic

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