This was a successful year for Italy at EMYA. Two of the three participants museum – the Egyptian Museum of Turin and the Opera del Duomo Museum of Florence – have gained a special mention for the high cultural value given by the research carried out on the field, at an academic level and for the divulgation and social impact, also in cultural diplomacy terms the former, and for the ability to exhibit an high aesthetic value of his collection the latter.
The National Archeological Museum of Altamura, even though it hasn’t received a prize,
it has raised an accurate interest for his ability to intertwine scientific research with the promotion of the regional development.
Always more frequently in the latest years, the EMYA prize is addressed to track down ideas, approach and contents that are innovatives, but which are able to go beyond the techniques and the tools used to spread them.
The Design Museum of London, winner of the main prize, stands out exactly for this reason:
a space – a forum – where the ones that create, produce and use design object meet and learn mutually. The interactivity is, above all, manual, as reiterating the importance of artisanal creation – of the handcraftmanship – not subordinated to the supremacy of technology.
The War Childhood Museum of Sarajevo, winner of the The Parliamentary Assembly of the Council of Europe Prize, like the prior winners of this prize, the European Solidarity Centre of Gdansk and the Memorial ACTe of Guadalupe, tells stories that make an impact and is capable to display those stories without overstating, but using the simplicity of the stories told by children.
This year the prizes Silletto, for the community engagement, and the Prize Kenneth Hudson, are both expression of the intangible culture and the composites cultural traditions ( The Betina Museum of Wooden Shipbuilding the first, and the Estonian National Museum the second.)
There are other museums, that haven’t received a prize even if they were eligible candidates and deserve attention for their specific approach to the themes of “public quality” and innovation in museology, and for the overall excellence of their job.
Again, EMYA demonstrates to be an excellent observation deck where many museums could turn to in order to find an exchange of view and inspiration, hoping that sooner or later an italian museum will be able to win the prize as best museum of the year.
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