Museum

The Balkan Wars Museum (Greek: Μουσείο Βαλκανικών Πολέμων) is a museum in Gefyra, west of Thessaloniki, Central Macedonia, Greece, dedicated to the Balkan Wars. The museum was founded on 26 October 1999. It occupies a two-storey building, built at the end of the nineteenth century near the entrance to the village. It is known as the Villa Topsin and it was here that the negotiations between the Greeks (under Crown Prince Constantine) and Ottoman forces were held when Thessaloniki was surrendered to the Greek army in October 1912.

The Museum is dedicated to the events of the First World War on the Isonzo Front. It presents two and a half years of warfare in the Upper Soča Valley, and devotes particular attention to the twelfth Soča battle, known as the Battle of Kobarid. The Museum features numerous interesting exhibits, a relief model of the Soča River Basin, an extensive photographic archive, a model cave and a documentary film presenting one of the largest mountain battles ever fought.

The origin of the museum dates back to the Brussels International Exposition of 1897. At King Leopold II’s behest, The ‘Colonial Section’ of the exhibition was moved to the ‘Colonial Palace’ in Tervuren. The exhibition halls were home to naturalised animals, geographic samples, commodities, Congolese ethnographic and artistic objects and art objects created in Belgium. An African village was recreated in the park and this was home to Congolese individuals during the day. Seven of these Congolese died during their time in the village.

The museum showcases Rwanda’s colonial era under Germany and the cooperation between the two countries. Kandt House Museum derives its name from Richard Kandt, the German physician and explorer who constructed and resided in the house in 1908, marking the birth of the capital of Kigali.

The Independence Memorial Museum is a historical museum in Windhoek, Namibia. It focuses on the anti-colonial resistance and the national liberation struggle of Namibia. The museum is located on Robert Mugabe Avenue and was designed and built by Mansudae Overseas Projects, a North Korean firm. The museum was inaugurated on March 21, 2014, the twenty-fourth anniversary of independence of the country, by President Hifikepunye Pohamba.

Originally, the Hollandsche Schouwburg was a Dutch theatre, but it was deemed as a Jewish theatre in 1941 by Nazi occupiers and it was later used as a deportation center during the Holocaust in the Netherlands.

On 4 May 1962, the theater was dedicated as a general memorial site by the mayor of Amsterdam. The auditorium of the theater was dedicated as a memorial to the Dutch victims of the Holocaust.

The Museum of the Great War in Marmolada had a creator, Dr. Mario Bartoli, and a financer, Dr. Bruno Vascellari. Both men were pioneers in the world of Museums dedicated to the memory of the Fallen in the Great War and the Marmolada Museum was inaugurated on June 9th, 1990. Shortly afterward, many others began opening in different towns.

The museum began as the colonial exhibition of 1931, was renamed in 1935 the Musée de la France d’Outre-mer, then in 1960 the Musée des Arts africains et océaniens due to the Franco-Algerian War. In the 1990s, the museum would remove many overtly colonialist materials and stress their artistic and heritage value. The museum became a department of the Louvre and became the Musée des Arts d'Afrique et d'Océanie.

The Museum of the Occupation of Latvia preserves the national memory, memorial and the long term historical story of the fate of the Latvian state, people and land while under the control of two occupying totalitarian powers from 1940-1991. This is the story of the treachery of the USSR and Nazi Germany against the sovereign state of Latvia, and the three occupations that led to the people of Latvia being pushed to the extreme limits of physical and mental survival.

The Troubles collection consists mainly of political posters and ephemera, many of which date from the early to mid-1970s. There are also many examples of prison-made objects, badges and artworks. Inevitably the interpretation of these events is contested in terms of significance, meaning and responsibility. While we have a shared past we do not have a shared memory.