MWNF celebrates its 20th anniversary (1994 – 2014) with a series of posts dedicated to the milestones in its history. PART 2, 1996-1998
Eva Schubert | June 26, 2014 | 11:22 am | other | No comments

6In July 1996, the inauguration of the third and last Tyrolean Exhibition Trail dedicated to the artistic legacy of the Habsburg Renaissance Emperor Maximilian I, was attended by representatives of the ministries in charge of Tourism and Cultural Heritage from Algeria, Cyprus, Egypt, Israel, Italy, Morocco, Palestine, Portugal, Spain and Tunisia. The guests – with whom Javier Muñiz and I had met previously in the various countries – were offered a three days field trip programme to get familiar with the methodology, infrastructure and impact of the Tyrolean Exhibition Trails. The field trips were followed by a two days meeting at the head office of the Bank of Tyrol, one of our sponsors, to discuss the realisation of an “Islamic Art in the Mediterranean” Exhibition Trail project based on the Tyrolean experience. Each country presented the proposed specific theme and some examples of monuments and sites to be included. At the end of this meeting, all participants left with a clear idea about the overall structure and potential of the project.

In the meantime (in 1995) together with a team of specialised publishers and experts in cultural communication from France, Italy, Spain, Morocco, Tunisia and Turkey I had set up an international association (“Lights of the Mediterranean”) to promote research, documentation and tourism development of the Mediterranean cultural heritage. In autumn 1996 the name of the association was then changed into “Musée Sans Frontières”. Between 1995 and 1996 there was practically no relevant event, including in November 1995 the Barcelona Declaration by the Ministers of Foreign Affairs of all Euro-Mediterranean countries, where MWNF was not invited to present its experience and planned project to set up a cycle of Exhibition Trails dedicated to “Islamic Art in the Mediterranean”. In this context it should, however, be mentioned that at that time the topic of Islamic art was perceived as something totally unusual and we had to face many obstacles, also in countries on the southern shore of the Mediterranean to convince our interlocutors about the importance of promoting awareness ad knowledge about the Islamic heritage. The tradition to promote the roots of Western culture only was deeply anchored in the minds and strategic planning of our interlocutors on both sides of the Mediterranean and more than once it happened that 14we were asked why we didn’t focus on the “Ancient Roman civilisation, which more than any other has united the Mediterranean”. Happily, since then, the situation has changed radically, whereby it is probably also thanks to the work and determination of MWNF that documentation, conservation and promotion of the cultural legacy of Islam became a priority on the political agenda and that many new institutions (museums, institutes, research programmes) have been set up to take care of it.

But back to the main stream our history: in September 1996, when the European Union announced its first programme with specific focus on the cultural heritage of the Mediterranean region, the project presented by MWNF (Exhibition Trails “Islamic Art in the Mediterranean”) was approved by the majority of the participants thus getting green light for EU funding under the Euromed Heritage I programme. At that time there was no call or tender but potential coordinators had been involved by the concerned ministries directly and I attended the meeting in Brussels as part of the Austrian delegation. However, the support of Egypt and Spain was crucial for the success of our project within that meeting where I met for the first time our colleague and current vice-president of MWNF, Cristina Correia.

18

For us it was impossible to keep the project on hold for all that time after the efforts that had already been invested to set up the network and agree on a joint working method.After the meeting in Brussels it took almost two years, until August 1998, until the contract with the European Commission could be signed.

Thus, thanks to support from the Spanish Ministry of Culture and local sponsors in each country, we took advantage of the two years to consolidate our network, define the contents of the project in each country and train the future project coordinators in the various countries. Between September 1996 and August 1998 four scientific coordination meetings took place in Barcelona, Rabat, Amman / Ramallah and Madrid. And between 14 July and 2 August 1997 a group of 20 young managers who had been selected by the institutions heading the Exhibition Trail project in the various countries, attended a three weeks workshop in Innsbruck to get familiar with the methodology and production process of the Tyrolean Exhibition Trails. Many of the colleagues who participated in that workshop are still with us and continue being pillars of the work of MWNF.

Continues ….

To know more about the history of MWNF:

http://www.museumwnf.org/atrium_chronology_home.php

Blogger PostTwitterYahoo MailFacebookShare/Bookmark
MWNF celebrates its 20th anniversary (1994 – 2014) with a series of posts dedicated to the milestones in its history. PART 1, THE BEGINNING
Eva Schubert | March 24, 2014 | 12:05 pm | other | No comments

The history of MWNF is the history of the people who have made it happen.

Our story starts in Innsbruck, the main city of the Austrian region of Tyrol, where I had been in charge of Hispania-Austria, one of the very first big art exhibitions, jointly organised by the Spanish and Austrian governments on the occasion of the big events that took place in Spain in 1992 (EXPO Sevilla, etc.). The great success of that exhibition and excellent relations with the local authorities were the basis for my decision to implement in Tyrol the pilot project for a new exhibition format, the “Exhibition Trail”: instead of moving the works of art it is the visitor who travels to discover artefacts and monuments within their natural environment. The exhibition catalogue, conceived as a thematic guide book, becomes the key element for a new exhibition experience. The idea for what was at that time a totally new approach came through the contacts I had established between 1992 and 1993 with cultural and tourism authorities in many countries around the Mediterranean and, subsequently, my involvement as an independent expert in the preparation of the so-called Barcelona Process.

These were the years of the Oslo talks, and optimism, sometimes even enthusiasm, about the chances for real peace in the Middle East was widespread all over the region. From those very first talks – normally with the ministers in charge of Culture Heritage or Tourism – it was clear to me that cultural heritage could play a major role in this process but that it was necessary to invent something that combined impact in the media (such as a big art exhibition) with something sustainable (such as the development of thematic trails). The idea of the “Exhibition Trail” was born.

The pilot project was implemented in Tyrol, in cooperation with the local authorities, and included three Exhibition Trails and related catalogues: 1994 The Gothic, 1995 Baroque & Rococo, 1996 Maximilian I. The catalogues, by the way, are still on sale!

Some weeks before the inauguration of The Gothic, the Tunisian Embassy in Vienna announced the visit of a representative of the Directorate for Cultural Heritage at the Tunisian Ministry of Culture to learn more about the concept of the “Exhibition Trails”. Aware of the importance of that visit, publishers from different Mediterranean countries were invited to attend the opening ceremony and to participate in a discussion about the possibilities of transferring the Tyrolean experience to the Mediterranean.

This first meeting was totally informal and brainstorming took place during meals and visits to different itineraries of The Gothic Exhibition Trails. The result of these first talks was the decision to set up the “Lights of the Mediterranean” Exhibition Trails, and the Tunisian government offered to host a second meeting of the publishers to discuss the concrete possibilities of its realisation.

At this phase of the beginning of MWNF the role of Javier Muñiz, who shared with me most of those experiences, was crucial. Javier is still with us and I would like to thank him for so many years of friendship and close collaboration.

Continues ….

To know more about the history of MWNF:

http://www.museumwnf.org/atrium_chronology_home.php

The destruction of the Museum of Islamic Art in Cairo, a humanitarian disaster
Khaled Azab | January 28, 2014 | 6:02 am | Guests' Articles | No comments

Cairo, 26 January 2014

Read more (contribution in Arabic)
http://alhayat.com/OpinionsDetails/596483