Inclusivity has become a key principle shaping the development of art museums and galleries worldwide. While efforts have been made to make cultural heritage accessible to diverse audiences, these institutions continue to face challenges in adapting communication and environments for individuals with specific learning disorders. This study examines the perceptions of Generation Z visitors, with a particular focus on those with learning differences such as dyslexia. Combining semi-structured interviews and eye-tracking research, it analyzes digital communication channels, gallery spaces, and visitor decision-making in the Czech and Slovak context. The findings highlight barriers related to text readability, spatial orientation, and digital design, alongside examples of inclusive practices from international institutions. The article outlines current limits and opportunities for inclusive communication and offers recommendations for enhancing accessibility in art museums and galleries, relevant not only for visitors with specific learning disorders but also for wider audiences.
This paper explores the evolving concept of museality through the case study of the project Heritage (in a) Supermarket which, on the other hand, examines the fluid nature of museum objects within interpretative frameworks, challenging traditional museum roles by introducing participatory and performative elements. Through a dual-character narrative and a marketplace-inspired approach, the experiment raises questions about the relation between the professional and the intuitive approach to heritage, heritage commodification, intergenerational conflicts related to heritage, and the role of museums in contemporary society. This study situates the project within broader theoretical discussions on museology, participatory experiences, and the transformation of objects into museum artifacts and viceversa. It also aims to refer to the underappreciated and neglected term of museality as one of the main concepts of museology as a science and reinterpret it in the context of a metamodern approach.
Nowadays the museum is more open and democratic than ever; however, is it also participatory? Although the number of initiatives involving visitors in decisionmaking has increased, these remain anecdotal within the institution’s overall activities. Considering this, it is important to ask whether participation is a key element of the 21st-century museum, an expectation for its future, or if it is not as significant as one might assume. This text presents a study on the presence of participation in documents that Spanish museums draft to outline their strategies and objectives, providing them with a theoretical framework and reflecting the values they uphold. The aim of this analysis is to better understand the role that participation plays among the objectives of the contemporary museum.
Literární muzea a památníky na Moravě představují významné instituce uchovávající a prezentující bohaté literární dědictví regionu. Tento článek shrnuje výsledky výzkumu zaměřeného na pět vybraných zástupců moravských literárněmuzejních institucí: Muzeum Otokara Březiny, Oddělení dějin literatury Moravského zemského muzea, expozici Jiřího Wolkera a Červený domek Petra Bezruče v Muzeu a galerii v Prostějově a Mahenův památník v Brně. Na základě analýzy vybraných případových studií článek shrnuje některé základní aspekty jejich historického vývoje, sbírkotvorné činnosti, prezentačních a edukačních aktivit a personálního zajištění. Hlavním cílem je charakteristika literárního muzejnictví na Moravě a identifikace obecných výzev, jakými jsou například finanční a personální omezení, nedostatečná digitalizace či problémy s oslovováním mladšího publika. V době rostoucí digitalizace a měnících se nároků publika je nezbytné hledat nové cesty, jak literární dědictví prostřednictvím inovativních přístupů přiblížit současným generacím. Výsledky ukazují na rozmanitost přístupů k prezentaci literárního dědictví, od tradičních statických expozic po moderní expozici založenou na umělé inteligenci.
The success of a cultural quarter depends primarily on human resources, the desire to create a better and higher-quality life within the local area, the support of the city administration, and, most importantly, the collaboration between the public and private sectors. Within the framework of theoretical predispositions, the role of the museum in a cultural district focuses on the communication of cultural heritage, which contributes to the strengthening of identity, memory, community cohesion, sense of place, and a sense of belonging. Feri Novak's Cultural Quarter is by no means a utopian project, nor is it a utopian idea; rather, it represents a vision of a modern concept for the development of an urban community.
