Heritage Contact Zone (HCZ) is a EU-funded project in the frame of the European Year for Cultural Heritage. In the two years of the project (September 2018 – August 2020) HCZ investigates the potential of heritage spaces for creative processes and dialogue. HCZ especially focusses on contested, neglected or marginalised heritage with exhibitions, workshops and a toolkit. It discusses challenging innovative and inclusive heritage representation, using heritage as a space for dialogue and constructive conflict. This website brings together the outcomes of the project.
Each of the following 5 objects are exemplary for many more that have been collected at the 5 local exhibitions of Heritage Contact Zone. You can find the others in the exhibition part of the website. We use each of them to show the different thematic and methodological approaches.
These stirrups are from the 17th century and were used by the main character of the historic story of Jan Struys who travelled from Amsterdam, to Russland and Iran. The question was: how can historic objects and stories be interpreted today by contemporary artists and how do those challenge the viewers cultural perspectives and prejudices?
During seven days of preparation, 50 objects were collected and transformed into fictional Bauhaus artefacts. The transformation process took place visually, aesthetically, but also conceptually.
The little ceramic sculpture of a boy was found by the owner on a flea market. The figure misses its head, one arm and one leg. The owner told that she used to have a special kind of affection towards the esthetics of fragmented and atypical bodies. 100 years ago, when the Bauhaus school was founded, handicaps were perceived very differently in society than today and people with disabilities kept hidden from the public. As today we can celebrate diversity and our differences – symbolized by the monument created underneath and around the boy’s figure, in a similar way new technology, innovation and progress was highlighted through the Bauhaus designs
This letter was written by a Hungarian Jew that died in the Holocaust. It was brought by a family member who shared it in a workshop setting with other eye-witnesses and interested citizens. It is part of a board oral history initiative that challenges the current historic master narrative of Hungarian (and therefore European) history.
Most refugees embark on tiny boats rather than seagoing vessels in their hope to find refuge in continental Europe. “I watch the tourists swimming in the sea and I remember our children drowning in the Aegean.” The colour of the toy boat is reminiscent of the colour of naval life-jackets. At the same time, it actually is a toy; a toy European children play with at the beaches of the Mediterranean during a happy vacation.
The workshop participants chose this particular boat to highlight a clash of experiences which continues to have vastly different impacts on refugees and Europeans respectively. Not only have the refugees lost loved-ones and their homes because of war and conflict; but on the last part of their journey they are forced to take the dangerous sea-route to Europe which has been fortifying itself against all international legal norms of refugee protection.
In the beginning everyone wanted to have it, in the end everybody wanted to get rid of it. The most spectacular way to do it was to set it on fire in public. The communist party members had priority when it came to advance in their work place; a communist party member would get a passport/the right to travel easier; a communist party member.