Seeing Ourselves and Others
People as the Principle and Purpose of Museum Activity: The Case of the Exhibition Huir con lo Puesto at the Museo del Traje in Madrid
Paper Presentation in a Themed Session Íñigo Ayala Aizpuru
Traditionally, museums have organized their exhibitions on the basis of objects and an institutional discourse. New theories have encouraged changes in these processes through public participation, audience development or cultural democratization. However, in the exhibition Huir con lo puesto (25 October 2024 - 2 February 2025), the Museo del Traje presents a new way of disseminating: through testimonies. This exhibition, organized in collaboration with UNHCR ACNUR UN Refugee Agency, presents the experiences of refugees as the axis. In order to establish the exhibition discourse and make the stories of these people materialize in an exhibition, the Museum presents clothing and accessories inspired by the results of the interviews conducted by the curators of the exhibition to groups of refugees. This transfiguration of the lived experiences is received by the audience while developing a new exhibition dialogue to make the viewer aware of the lived horror, enriching society by raising awareness of this barbarism and fostering empathy for the lived situation. In this way, the traditional work of curatorship is also modified, giving rise to a new form of research, a participatory research where the focus is placed on the experiences of migrants. This paper shows how the process of collaboration and participation between all the agents involved in both the design and the implementation of the exhibition was carried out. It also delves into the inclusion of this group within an organization such as this museum, both for the theme of the exhibition and for the activities organized.
Featured Grief, Empathy, and Inclusion - How Museums Support Visitors Through Loss: Guiding Visitors Through Loss and Nurturing Collective Empathy with Innovative Learning Programmes
Paper Presentation in a Themed Session Katya Provornaya
This paper, based on my chapter for the Routledge Handbook of Museum and Heritage Education (2025), explores how museums can serve as spaces for healing, helping visitors navigate grief, and fostering empathy and inclusion. The COVID-19 pandemic amplified collective experiences of loss, underscoring the need for inclusive spaces that address and process grief. Loss manifests in various forms – such as the loss of health, meaningful relationships, and forced migration – and often remains socially neglected or overlooked, leaving individuals unsupported in their grieving process. Museums, as public institutions, have begun to embrace their role in supporting emotional well-being by offering programs that help individuals process their grief, adapt to life after loss, and build connections within their communities. This presentation draws on participatory learning theory, object-based learning frameworks, and grief studies to explore the transformative role museums play in nurturing empathy and social connection. Through three case studies—the Anchorage Museum (USA), the Whitworth (UK), and the Museum of Loss (UK)—the paper highlights how museums create inclusive spaces for reflection and healing. These case studies focus on addressing environmental loss, baby loss, and displacement and demonstrate how museums can engage visitors in empathetic, community-oriented experiences that support emotional well-being. By fostering an open, inclusive environment for visitors to process grief, museums can promote healing and resilience. This research emphasises the importance of creating spaces where every visitor feels seen, heard, and supported in their personal and collective journey through loss.
Art through the Eyes of Children: Enhancing Museum Experiences
Paper Presentation in a Themed Session Francesco Walker
Children learn about art by actively engaging with their surroundings, making museums powerful spaces for learning and development. Yet, the descriptions accompanying artworks are typically designed for adults, often overlooking the needs of younger visitors. How does this affect children's engagement with art? Do they perceive paintings differently from adults, and can more tailored descriptions enhance their experience? In this study, I present novel findings from collaborations with major Dutch museums, including the Van Gogh Museum and the Rijksmuseum — the National Museum of the Netherlands. Using eye-tracking data, I highlight key differences in visual attention between younger and older visitors, and show how museum labels shape the way children view the paintings on display. By uncovering these patterns, I explore practical strategies for making museum storytelling more inclusive and engaging for diverse audiences. Ultimately, I show how partnerships between museums and academic institutions can drive evidence-based improvements in visitor experience, ensuring that art is accessible and meaningful for all.
