BRUSK, in the heart of the UNESCO city, is designed by Robbrecht en Daem architecten, the firm that previously designed the iconic Concert Hall. With strong eco-credentials, the new museum boasts “monumental exhibition spaces” that will “host Musea Brugge’s exhibitions of ancient, modern, and contemporary art, always in dialogue with current themes,” a press release reveals. The in-house collection and the Bruges context will usually serve as the starting point, the museum states, while masterpieces and loans from renowned institutions and museums around the world will complement the offer.

Starting on 8 May, the art gallery opens with a digital art experience titled Latent City, by Turkish-American artist Refik Anadol, as well as a “cultural-historical exhibition” named Bigger Picture. Connected worlds of Bruges 900-1550. Introducing the two shows, the museum notes that Latent City will be “Refik Anadol’s first solo exhibition in Belgium, an international pioneer in AI-powered art. At the same time, Bigger Picture will shed new light on Bruges as a medieval metropolis.”

Running from 8 May to 8 November 2026, Refik Anadol Studio brings the fruits of its bespoke trained AI models: transforming the idea of the metropolis with over five million images of global cities and unique algorithms.

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Bigger Picture meanwhile engages museum goers with the notion of the metropolis in the Middle Ages, looking at Bruges as a “world city, a hub in global networks of trade, culture and politics.” The exhibition materials draw attention to the way “Bruges seemed to be the epicentre of the world. But the city was never isolated. Bruges was constantly in contact with other regions and cultures through trade, travel, faith and ideas. And it was precisely these connections that gave it an important role in world history.” Visitors will experience “five chapters full of unique, historical objects and stories from different ages and continents” that “highlight the interactions between medieval Bruges and the rest of the world.”

BRUSK’s opening weekend (8-10 May 2026) is being branded as an “unmissable city festival” called “BRUSK FEST” that will “unfold in and around the art gallery over the course of 3 days.” The programme includes free performances, workshops, theatre, live performances, and music for all ages. One ticket allows guests to discover all the current exhibitions in BRUSK in one day, for a standard price of €20.

L’article Bruges inaugurates BRUSK art hall with major exhibitions and festival weekend est apparu en premier sur Travel Tomorrow.

The UK’s national museums and galleries, including world-class cultural institutions such as the British Museum, Natural History Museum, Science Museum, Tate Modern, and V&A, started offering free access to all under the Tony Blair Labour government in 2001. Special installations and exhibitions remain payable, while permanent collections are usually free to view under the scheme which saw institutions that had previously charged for admission drop the fees in in return for extra government funding. Visitors are often invited to make a donation on entry but are not obliged to do so, making the museums’ cultural artefacts available to everyone regardless of household budgets.

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Visitor numbers at the free national museums all rose substantially, averaging a 70% increase in the year after the policy was introduced. Visitors at the V&A rose by 111 percent from 1.1 million to 2.3 million. But critics say the profile of people visiting the museums has not changed and that cultural, class, and education barriers remain despite the efforts at democratisation.

Amid tight finances, today’s Labour government is reviewing the free entry policy, saying it will explore options with the museum sector, including a look at how a change in the funding model could benefit the arts.

The idea has not been well received in all quarters. The British Museum has come in for particular criticism in recent years for its collection that some say is made up of artefacts unlawfully taken during the colonial era from nations and peoples around the world. The Parthenon (or Elgin) Marbles are an infamous subject of contention, with Greece advocating for their return.

I’m puzzled that UK nationals are now charged a premium for visiting attractions such as the Louvre but we still give non-UK nationals free access to London museums. This is how UK negotiates with the EU – we’ll pay for you to get it free!

— Steve Crawshaw (@crawshaw_steve) April 9, 2026

Reuters reports that the vice-chair of the Caribbean Community’s reparations commission, Eric Phillips, has slammed the proposal as “unethical,” asking: “Why should we have to pay to see our heritage?”

In addition, Open Restitution Africa (ORA) said Africans and others must already currently travel and gain visas to come to the UK and see their own cultural artefacts and that “Introducing entry fees further compounds these inequalities.”

Some have called for a pricing strategy that would include reductions for such international visitors, while others question how paid entry could be implemented at all without causing controversy and queues, if every visitor needed to undergo an identity check. The government has not yet commented on the issues raised. A decision is expected by the end of 2026.

L’article International visitors could soon be charged for entry to free UK museums est apparu en premier sur Travel Tomorrow.

The museum has acquired a reconstructed version of the early YouTube watch page, allowing visitors to see the platform as it appeared online in its infancy. Corinna Gardner, Senior Curator of Design and Digital at the V&A, highlighted the importance of the acquisition: “This snapshot of YouTube in its early days marks an important moment in internet and digital design history. It gives us new ways to explore how online platforms have shaped culture and creativity.” 

YouTube CEO Neal Mohan welcomed the acquisition, highlighting the video’s cultural significance. “It’s wonderful to see ‘Me at the Zoo’ join the Victoria & Albert Museum’s collection. What started as a simple 19-second moment of self-expression became a new way for people to share their stories with the world,” he said. 

Though brief, the clip is historically significant. In it, Karim stands in front of elephants at the San Diego Zoo and comments on their long trunks. Filmed with a low-resolution camera, the video helped launch a platform where anyone could create and share content, paving the way for millions of influencers, content creators, and YouTubers who now reach global audiences and shape culture. Since its upload on 23 April 2005, it has been watched hundreds of millions of times. 

The V&A spent roughly 18 months reconstructing the original page, working with YouTube’s UX team and the London-based interaction design studio oio.studio. They relied on website code preserved by the Internet Archive to replicate the interface as it appeared on 8 December 2006, the oldest documented snapshot available. Visitors can now see not just the video, but the entire experience of early YouTube, including interface layout and even banner ads from that period. 

The acquisition also reflects a broader shift in how museums are collecting culture in the digital age. Traditionally, institutions like the V&A focused on paintings, sculptures, historic objects, and decorative arts, but digital platforms, websites, and internet culture are increasingly being preserved. Examples include the famous Dancing Baby viral clip from 1996, and Nyan Cat, a pixelated animation that even became an NFT. Similarly, early computing technology is now displayed in museums like the Computer History Museum in Mountain View. 

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“Me at the Zoo” highlights YouTube’s impact on modern media. Founded in 2005, the platform allowed anyone to upload videos, transforming how people create, share, and consume content. This short clip marked the start of the creator economy, paving the way for millions of content makers, from educational creators to travel vloggers, who now reach global audiences and influence culture worldwide. 

For travellers visiting London, the V&A is a must-see destination. Located in the cultural district of South Kensington, it is one of the world’s largest museums of art, design, and decorative arts. The display of “Me at the Zoo” is housed in the Design 1900–Now gallery at the South Kensington site, which explores how design, technology, and everyday objects shape modern life. Visitors can explore millions of objects spanning more than 5,000 years of history, including fashion, furniture, photography, ceramics, sculpture, and digital design. 

Additional material on the reconstruction of the early YouTube page is on show at the V&A East Storehouse in Stratford, offering a behind-the-scenes look at how digital culture is preserved for future generations. With this exhibition, the museum highlights how the digital world, once considered fleeting, has become an important part of cultural history, bridging traditional collections with the online experiences that continue to shape modern life. 

L’article First-ever YouTube video finds home at London’s V&A Museum est apparu en premier sur Travel Tomorrow.

While Alberto Giacometti was born in Switzerland in 1901, as of 1922, the artist spent most of his life in Paris. Many of his sculptures, drawings, and other pieces of art were made out of a tiny 23 square meter rental studio in the Montparnasse neighbourhood until his death in 1966. Afterwards, his wife Annette spent the rest of her life until 1993 carefully cataloguing all his works, which led to an impressive collection containing over 10,000 pieces. Once Annette passed away, the Fondation Alberto et Annette Giacometti took over the collection.

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“[That includes] thousands of drawings, over 400 sculptures, 100 paintings, a whole collection of decorative objets d’art, prints, everything that was in the studio, all the archives. People don’t know we have masterpieces from the earliest period, when Giacometti was very young, masterpieces from the Surrealist period, masterpieces from wartime, masterpieces from after the war, masterpieces from the late period”, Fondation Alberto et Annette Giacometti director Catherine Grenier told The Art Newspaper.

Over the past few years, the foundation has been based in a 350-square-meter location known as the Institut Giacometti in Paris’s 14^th arrondissement, yet ever since the inauguration of that space in 2018, the goal has been to find a bigger space, which could welcome the public and house dedicated exhibitions.

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Big project, big space

Thanks to Paris’ urban renewal project called Réinventer Paris, that space will soon become a reality. The former Gare des Invalides train station in the French capital’s 7^th arrondissement is currently being transformed by property developers Emerige Group and Nexity.

Once completed, the building situated on the Seine riverfront next to the Pont Alexandre III will house the new 6,000 square meter headquarters of the foundation. The space will be divided into an exhibition space on the one hand, featuring hundreds of works that have never been shown to the public before. On the other hand, a cafe, a restaurant, a bookshop, and an educational space will complete the offer.

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The fancy location of the museum – right in the heart of Paris – and its size have already sparked some criticism. In November 2025, in an article for Swiss Info, Paris-based Swiss journalist Mathieu van Berchem wondered whether it might be “a bit over the top,” and French-Swiss architect and sculptor Serge Lemeslif, underlined Giacometti’s simplicity, something he doesn’t see reflected in the new museum. However, both curator Peter Selz and director Catherine Grenier don’t agree with such reasoning, saying the size of the collection and the educational vocation of the project justify its scale.

While initially scheduled to open in 2026, at the time of writing, the museum is now planning on opening its doors in the second half of 2028.

L’article Swiss sculptor Alberto Giacometti gets world’s first museum in Paris est apparu en premier sur Travel Tomorrow.

The revamped Paisley Museum has emerged from a £68.7 million (approximately €79 million) renovations led by Renfrewshire Council with a striking new look. The project was held back by a dearth of materials linked to the global pandemic, as well as rising construction costs and inflation.

A striking, dramatic red glass façade now greets visitors on the High Street, encouraging them to “naturally drift in”. The light-filled extensions bridge the gap between the historic complex and contemporary architecture, while the bold red frontage is intended to evoke the town’s radical spirit and capacity for reinvention.

Two buildings have also been extensively renovated: the main, A-listed building and the Coats Observatory, which is recognised as Scotland’s oldest public observatory. Both structures have been restored while preserving their historic character. 

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Inside, the museum now offers double the exhibition space across every floor in state-of-the-art galleries. An outdoor garden and new public spaces have been landscaped, and a café and museum shop have been added. The museum will also boast a dedicated learning space, an archive centre, a weaving studio and digital interactive experiences throughout its exhibitions.

A new wing is also planned to connect the Coats Observatory to the main building. This will include a telescope, giving visitors the opportunity to stargaze.

OneRen, a Renfrewshire cultural charity, will operate the museum and hopes to welcome 125,000 visitors a year.

While acknowledging the considerable challenges faced during the refurbishment, Renfrewshire Council’s spokesperson, Lisa-Marie Hughes, shows unfailing optimism:

“As with many projects involving historic buildings and with this being the first major refurbishment in its 150-year history, there have been challenges”, she said. “But I’m excited for us to now look forward to the fit-out process as we create the environment that will allow us to tell the stories of Paisley’s history and its people.”

The museum’s website describes the building as the product of a “bold and radical community” that defied social division and came together around a shared interest in the natural world, science, art, and history.

Inaugurated in 1871, the museum was built by and for the people of Paisley, driven by what it calls the “curious spirit” of the community. The region was booming in the early nineteenth century thanks to its weaving industry, which brought prosperity and, with it, a growing appetite for education. The museum’s precursor, the Paisley Philosophical Institution, which was founded in 1808, promoted education for all through public lectures, and it also began collecting artefacts, scientific apparatus, objects, and books. In 1867, Sir Peter Coats agreed to finance a dedicated building to house the new museum.

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Hughes framed the project as both cultural and economic investment, adding: “We will have a visitor attraction that local people and communities will be proud of and one that will attract thousands of visitors to the town each year, who will boost the local economy”.

Designed by the international architecture firm AL_A and constructed by HUB Build, the project was made possible through a partnership between Renfrewshire Council, the Scottish Government and major heritage funders, including the National Lottery.

OneRen’s project director, Kirsty Devine, aims to establish the museum as one of Europe’s leading cultural destinations. This may well happen, as the museum has already won a major international award: the AR Future Project Award. It beat the Prado Museum in Madrid to win the award.

L’article Landmark Scottish museum set to reopen in 2026 after major renovations est apparu en premier sur Travel Tomorrow.

For museum enthusiasts, Brussels is a perfect destination year-round. The Belgian capital offers a wide variety of museums in a wide variety of themes, ranging from classical art all the way to beer and everything in between. Yet once a year, the city becomes even more interesting museum-wise thanks to the now well-established Nocturnes, an event which has been going for over 30 years.

During the Nocturnes, a selection of Brussels’ museums remains open later than usual on Thursdays, allowing everyone to spend a night at the museum after hours. It is the perfect way to end a day of sight-seeing in the city, to calm down after a day at the office, or to start a night out in a different way than usual. 

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In 2026, the Nocturnes take place on Thursday evenings between 6:00 pm and 10:00 pm from 12 March until 23 April and more than 40 museums participate in this year’s edition. The list of participants includes a range of newcomers and museums that haven’t taken part in the Nocturnes for some time, such as the Espace Vanderborght, the ULB Museum of Zoology and Anthropology, A Foundation, the Museum of Evere (Food and Mill), Clockarium, Belgian Chocolate Village, and Brussels City Hall. 

Spread over seven consecutive Thursdays, all of the participating museums will open their doors to the public at least one evening during the Nocturnes. In order to celebrate the occasion, many will be organising special events and behind-the-scenes tours for visitors, allowing them to get to know a different museum or offering an excuse to revisit old favourites. For example, the Erasmus House in Anderlecht will be organising a beer tasting featuring herbs from the garden, while the KBR will organise an introduction to medieval dance.

For the 2026 season of the Nocturnes, three types of tickets will be available: standard tickets, tickets with reservation, and special event entrances. Some passes, such as the MuseumPassMusées and the Art Nouveau Pass, may offer free entrance to a selection of venues, and some museums are free for everyone. Details about pricing and reservations can be found through the Nocturnes website. 

L’article Brussels Nocturnes returns with 40 museums open on Thursday nights est apparu en premier sur Travel Tomorrow.

Ghent’s museum of daily life, known as the House of Alijn, traditionally studies customs, traditions, and rituals from the recent to the distant past. From housekeeping to birth announcements, there’s nothing too ordinary for the museum’s team to explore.

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Starting from 4 July 2026, the museum’s newest exhibition, C’est Party! will be focusing on nightlife. More particularly, visitors will get a sense of what it was like to spend a night out from the 1920s up until the 2020s. In order to expand its collection, House of Alijn has now launched a call, asking people to send in any memorabilia they might have that is connected to nightlife.

“It covers a period from the “Roaring Twenties” to the “Pandemic Twenties”. It’s very broad, and we’re still looking for additional material. Many things are needed: flyers, posters, festival wristbands, and clothing. We are not only looking for images from dance halls, dance cafés, and mega discotheques. We also want to map out the subcultures. Stories and testimonies are welcome!”,  researcher Eva Dierckx told Belgian news outlet VRT NWS.

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Rare remnants

The team is in particular looking for material connected to Flanders and Brussels. While nightlife has played an important role throughout history and is certainly worth exploring, remnants are usually rare as people are mainly concerned with what is happening in the moment and are thus not thinking about taking pictures or keeping souvenirs.

Before the start of the exhibition, the museum will make a selection of the best memorabilia, which will then be visible to the public.

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“The intention is to use the things sent in by members of the public in the exhibition. We realise that some photos and images may feature people who would rather not be shown. We will only use material with their permission. Not everyone wants to be reminded of their wild nights out”, Dierckx explains to VRT NWS.

Not only does House of Alijn plan to put together an exhibition, but there will also be a book in which some of the collection will be featured. Moreover, some of the items sent in could become a part of the museum’s permanent collection if their historical value proves to be sufficiently important.

L’article Ghent’s House of Alijn museum is looking for nightlife photos, videos, and objects est apparu en premier sur Travel Tomorrow.

The Italian architecture studio of Peter Pichler has unveiled its design for Museum Depot, a museum and storage facility in one. Designed to house the cultural collections of the region around Bolzano, the project should come to life in the near future, as it was accepted by the authorities and has received official approval.

The building will house the cultural assets of the province of Bolzano in a centralised depot space, while acting as a cultural and architectural landmark for the public. The design allows for exhibition spaces, storage areas, workshops, laboratories, and offices to be housed under the same roof. Overall, some one million objects would be conserved on-site and should thus become easier to access for the public. 

“The new design was confronted with a dual obligation: to perform as an optimised preservation facility while simultaneously responding to the cultural demands of the region. Unlike the historical distribution of depots of varying scales and programs scattered across South Tyrol, the new museum depot consolidates these functions into a unified facility, creating an integrated regional space for archaeological research”, Peter Pichler Architecture said in a statement. 

Design of the building

As far as the outlay of the building is concerned, the Museum Depot will be divided into two separate areas. Aboveground, the well-lit, timber-clad interior will allow visitors and staff to be welcomed and work under the best conditions. Underground, the stored collection and exhibition zones enjoy thermal stability, thus visually diminishing the building’s impact on its surroundings.

Aside from the triangular façade in the front of the building, the design allows for an internal, green courtyard, which should bring extra daylight into the offices at the back. Meanwhile, the green sloping roof makes it blend in amongst the surrounding vineyards and mountains. 

“The green roof becomes an extension of the landscape, fostering continuity and a seamless dialogue between architecture and its natural setting. By partially embedding the building into the ground, the project reduces its perceived scale and respects the surrounding context and typology”, the architecture studio said. 

Since its foundation in 2015, Peter Pichler Architecture, based in Milan, has completed a lot of projects across Italy, Austria, and beyond. Many of those are set within nature-rich surroundings, such as the Oberholz Mountain Hut in Obereggen (Italy), and tend to blend in with the landscape.

L’article South Tyrol’s cultural collections might soon be housed in Museum Depot by Peter Pichler Architecture  est apparu en premier sur Travel Tomorrow.

After more than 25 years of collecting, preserving, and exhibiting photography, the Nederlands Fotomuseum now occupies the former Santos warehouse, giving the institution space worthy of its expanding ambitions and collections.

Built between 1901 and 1903, the Grade A listed building originally served as a storage facility for coffee imported from the Brazilian port of Santos, the name of which still appears proudly on the façade. By the early 20^th century, coffee had already become a staple drink across much of Europe, and Rotterdam’s port played a central role in this trade.

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The warehouse is now not only the largest of its kind, but also one of the best-preserved industrial buildings of its period in the Netherlands. The architects responsible for the renovation retained the building’s original six floors and cast-iron column structure, which was designed to limit daylight exposure, ideal conditions for conserving both coffee and light-sensitive photographic works.

The red brick building, with its decorated lintels and deep-set openings, now boasts a sleek, renovated structure that has become a familiar sight in Katendrecht. Once notorious as Rotterdam’s rough-and-tumble red-light district and home to Europe’s largest Chinatown, the peninsula has been transformed into a vibrant cultural hub renowned for its artistic and culinary offerings.

The 9,000-square-metre complex was transformed by Hamburg-based architects Renner Hainke Wirth Zirn Architekten to adapt the building for use as a museum.

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A new central atrium and staircase now connect the different levels, from the basement to the rooftop. These are surrounded by spacious, open-plan, multi-use interiors that accommodate exhibitions, events, workshops, and visible storage areas. Visitors can now view parts of the museum’s extensive collection and observe the conservation work that was previously hidden from view.

The two new top floors, wrapped in a semi-transparent façade, crown the original structure. This “crown,” which some say resembles a Basquiat-style illuminated headpiece, houses offices and a restaurant offering panoramic views of the harbour and Rotterdam’s skyline.

The museum’s holdings now number over 6.5 million photographs and objects and are expected to reach 7.5 million by 2028. They trace the evolution of the medium from early daguerreotypes dating back to the 1840s to contemporary work by photographers such as Dana Lixenberg, Erwin Olaf, and Jaya Pelupessy. The collection also comprises over 175 complete archives, including those of Ed van der Elsken, Augusta Curiel, and Esther Kroon, which provide unparalleled insight into Dutch photographic history.

@rotterdam_info A new home for photography in Rotterdam The Nederlands Fotomuseum opens in pakhuis Santos, a restored national monument on Katendrecht and sets a new standard for photography museums in Europe. This new state-of-the-art venue brings photography together in many ways. Across nine floors you’ll find extensive exhibition spaces, a photo bookshop and library, an education centre and community areas. The renewed museum also houses a café, a darkroom and a rooftop restaurant with sweeping views of the Rotterdam skyline. This is not just a museum, it’s a living home for photography, where Dutch photographic heritage meets the city and the future. Will you be one of the first to discover it? Tickets are now available via @nlfotomuseum #dorotterdam #rotterdammakeithappen #visitrotterdam ♬ origineel geluid – Rotterdam Info

At street level, glass façades now replace the former solid walls, visually opening the museum to the city. The café, bookshop, and library invite passers-by inside, blurring the boundaries between the museum and the neighbourhood.

Beyond exhibitions, the museum features community and education spaces, workshops, and even a darkroom accessible to both professionals and amateurs.

The museum’s organisers hope that the omnipresence of photography in the smartphone and social media era will translate into a deeper public interest in the medium’s history and artistic value.

"Since the 17^th-century masters, light has been integral to Dutch art," museum director Birgit Donker has noted. "Photography therefore, feels like a natural continuation of that tradition."

L’article Rotterdam’s photo museum opens in a historic coffee warehouse est apparu en premier sur Travel Tomorrow.

As far as historical African objects are concerned, Tervuren’s AfricaMuseum is an institution of worldwide renown. The permanent exhibition gives a good overview of the museum’s overall collection, but only 1% of the items are on show. That doesn’t mean, however, that the remainder of the items doesn’t get used, as it is a vast source of information for researchers, especially – but not solely – those interested in Africa’s rich history.

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That being said, the origins of the collections have always been a source of social and political discussions. Over the years, and as those discussions intensified, the need for specialised historical research into the museum’s objects grew. The PROCHE project (PROvenance Research on the Ethnographic Collection – Herkomstonderzoek op de Ethografische collectie), a federal science policy program implemented by the AfricaMuseum, is the answer to that demand.

“The goal of provenance research is to document the entire acquisition process of a cultural good and to contextualise its various historical backgrounds, so that any person or organisation may conduct their own investigations to determine the licit, illicit or indefinable nature of a transaction (e.g., a looting, a theft, a transfer, or a gift). This is a work ‘in progress’ that will be continuously renewed through new data and knowledge. The provenance research project does not aim to determine the legal or moral status of the collections but to compile, index, and analyse available data on the circumstances that led to their registration as cultural heritage of the Belgian federal government”, the AfricaMuseum writes.

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Temporary results

From military campaigns to collections, from scientific expeditions to missionaries, from western inhabitants in Congo to art trade, from acquisitions to donations: the museum’s vast collection is known to stem from an almost as vast a number of sources. Due to Belgium’s high involvement with Congo and Central Africa in the past, exchange between the regions was intense, although mainly directed from Africa towards Belgium.

The event at the museum gave an overview of the data researchers have managed to compile so far. With the 83,000 artefacts studied, the project has been able to identify 2,300 people or organisations linked to them. Some 1,000 are connected to just one item, while 123 people are connected to hundreds of objects, and 18 people are linked to more than 1,000 items each. The research is still ongoing, and more results can be expected in the future.

L’article AfricaMuseum investigates provenance of African objects in its collection est apparu en premier sur Travel Tomorrow.