Joining the Shards -

BEST PRACTICES | STORYTELLING | The Medieval Stronghold of the Knight-Robber Black Christopher in the Light of Archaeological and Historical Research | Museum of Ceramics in Bolesławiec (Poland)

How can we tell the story of a medieval stronghold that no longer exists?

At the Museum of Ceramics in Bolesławiec, we share inspiring storytelling practices that draw on the findings of archaeological and historical research into the medieval stronghold of Black Christopher (Czarny Krzysztof), a knight-robber who terrorised the townspeople of Lower Silesia.

The stronghold in Olszanica was destroyed in 1512. Several centuries later, archaeological excavations conducted by the Museum of Ceramics revealed the remains of this site. Dozens of nearly intact vessels and thousands of pottery fragments provide valuable insights into the daily life, trade, technology and social status of the stronghold’s inhabitants.

The project brought together archaeological findings and historical sources, making it possible to reconstruct the function of the site and uncover its previously unknown history.

However, the research did not end with the archaeological excavations. The recovered ceramic vessels were cleaned and partially reconstructed, then transformed into museum objects that became vehicles for storytelling. They were made accessible to a wider audience through a permanent exhibition at the Museum of Ceramics, accompanied by a multimedia historical interpretation and a bilingual popular science publication.

An engaging exhibition opening, inspired by a medieval feast and enriched with a historical reenactment, was another important element of the project. This approach made the history of the Lower Silesia region more accessible, particularly to younger audiences.

This practice demonstrates that even damaged ceramic fragments can serve as a starting point for telling a story. Combined with historical sources, archaeological evidence and audience engagement, they help revive the memory of heritage that no longer physically exists.

https://voices.skd.museum/en/the-klemperer-collection

“Joining the Shards – Upskilling of Museum Operators for the Valorization and Narration of EU Ceramic Heritage Impacted by War and Conflict” is co-funded by the European Union under the Erasmus+ KA220 – Cooperation Partnerships in Vocational Education and Training

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October 11, 2026

Five European institutions are bringing their expertise together to create a shared Guideline.

Together with our project partners, we’re developing a Guideline that unites best practices in the restoration and conservation of war-damaged ceramics – plus well-working approaches to storytelling around this field. Until now, this kind of knowledge has mostly stayed within individual institutions; this Guideline changes that.

Once finished, it will be published digitally and made freely accessible to everyone on our website in November.

What to expect:

Expert knowledge on restoration and conservation of war-damaged ceramics

Best-practice methods from Museo Internazionale delle Ceramiche in Faenza, Muzeum Ceramiki w Bolesławcu and the Porzellansammlung of the Staatliche Kunstsammlungen Dresden

Insights into storytelling approaches

Well-working methods from Museo Internazionale delle Ceramiche, Muzeum Ceramiki w Bolesławcu, Stichting the War Childhood Museum and the Porzellansammlung of the SKD

Ideas to spark discussion on how we approach war-damaged heritage on a transnational level going forward

It’s just the starting point: a shared foundation for partners to keep exchanging expertise and for bringing this knowledge to our visitors through storytelling formats later in the project.

https://voices.skd.museum/en/the-klemperer-collection

“Joining the Shards – Upskilling of Museum Operators for the Valorization and Narration of EU Ceramic Heritage Impacted by War and Conflict” is co-funded by the European Union under the Erasmus+ KA220 – Cooperation Partnerships in Vocational Education and Training

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October 5, 2026

BEST PRACTICES | STORYTELLING | Reconstruction of the Porcelain Collection of the Dresden Banker Gustav von Klemperer (1852–1926) – Staatliche Kunstsammlungen Dresden (Germany)

Can porcelain tell the story of war, persecution and loss?

As part of the Joining the Shards project, we present good practices developed by museums and cultural institutions in the field of storytelling related to ceramic heritage affected by war and conflict.

Another example is the practice of the Staatliche Kunstsammlungen Dresden – Porzellansammlung, focusing on the reconstruction of the porcelain collection of Dresden banker Gustav von Klemperer (1852–1926).

The Meissen porcelain collection belonging to the Klemperer family was confiscated during the Second World War and subsequently transferred to the Dresden Porcelain Collection. Provenance research made it possible to trace the history of the surviving objects, as well as to identify numerous losses suffered during and after the war.

Damaged objects and surviving fragments are of particular importance. These fragments of porcelain have become part of a narrative about persecution, war and its devastating consequences.

In 2011, a partially preserved Meissen figurine of Hippomenes, showing visible damage and traces of fire, was added to the Dresden Porcelain Collection. The object serves as a lasting reminder of the crimes of the Nazi regime and the consequences of war.

This is where storytelling takes on particular significance: the ceramic object becomes a carrier of memory of people and events, while its fragments and traces of destruction form an integral part of its history.

The innovative aspect of this practice also lies in incorporating the voices of the descendants of the Klemperer family into the narrative. Their films, photographs and diaries enriched the digital publication of the research findings, creating a more personal and engaging form of storytelling.

Joining the Shards demonstrates how conservation, provenance research and storytelling can work together to restore the memory of damaged and lost ceramic heritage.

More about the reconstruction of the porcelain collection of the Dresden banker Gustav von Klemperer You will find here:

https://voices.skd.museum/en/the-klemperer-collection

“Joining the Shards – Upskilling of Museum Operators for the Valorization and Narration of EU Ceramic Heritage Impacted by War and Conflict” is co-funded by the European Union under the Erasmus+ KA220 – Cooperation Partnerships in Vocational Education and Training

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October 2, 2026

BEST PRACTICES | STORYTELLING | CERAMICS OF WAR AND PEACE – MIC Faenza (Italy)

How can ceramics tell the story of war, destruction, and reconstruction?

At the International Museum of Ceramics in Faenza (MIC), the “Ceramics of War and Peace” guided tour invites visitors to discover the Museum’s tragic history and the ceramic heritage that survived the destruction of World War II.

The tour begins in a specially curated section of the exhibition “1908–1952. In Memory of a Dream Enterprise,” which traces the museum’s founding and development, the dramatic consequences of the war, and the process of rebuilding the museum’s collection after the war.

Through archival and photographic documentation, films, and preserved ceramic objects, museum visitors will learn about items recovered from the ruins—including those bearing visible traces of the war. Over 300 crates of ceramic fragments were salvaged from the rubble, which were then sorted and restored.

This story also reflects the vision of the MIC’s founder, Gaetano Ballardini, whose perseverance and determination in securing significant donations made the reconstruction of the Museum and its collection possible. Among the postwar donations were works by internationally renowned artists, including Pablo Picasso.

Intensive conservation and restoration work carried out in the 1990s contributed to the recovery of a vast number of ceramic objects from the MIC collection. This story shows that damaged—and sometimes completely destroyed—heritage can become not only an object of conservation but also an important testament to the history and identity of an entire community.

The storytelling practice was developed by MIC Faenza in collaboration with Emergency Faenza and is aimed at all audiences—both local and international. Its goal is to raise awareness among visitors of the powerful impact that armed conflicts can have on cultural heritage.

Discover more about Ceramics of War and Peace:

https://www.micfaenza.org/…/ceramiche-che-parlano-di…

“Joining the Shards – Upskilling of Museum Operators for the Valorization and Narration of EU Ceramic Heritage Impacted by War and Conflict” is co-funded by the European Union under the Erasmus+ KA220 – Cooperation Partnerships in Vocational Education and Training

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September 25, 2026

How can ceramics tell stories of war?

A ceramic object can be much more than just a work of art.

It can tell the story of a museum destroyed by bombing, a family whose collection was lost, a medieval site that no longer exists, a child growing up during wartime – or a museum trying to communicate with its audience during an ongoing conflict.

Through the Joining the Shards project, our partners are exploring different ways of telling these stories.

Museo Internazionale delle Ceramiche in Faenza uses guided tours, objects, photographs and archival materials to tell the story of the museum’s destruction and the recovery of ceramics from its ruins.

Staatliche Kunstsammlungen Dresden uses provenance research and digital storytelling to reconstruct the history of the Gustav von Klemperer collection and the people connected with it.

Muzeum Ceramiki w Bolesławcu uses archaeological fragments, historical sources and research to reconstruct the story of the medieval stronghold of the robber knight Black Krzysztof – a place that has disappeared, but whose history can still be told.

Khanenko Foundation Музей Ханенків. The Khanenko Museum brings another perspective: how can museums communicate with the public during an ongoing war, and how can the narrative dimension of cultural heritage be preserved even when the objects themselves cannot be displayed?

War Childhood Museum starts with everyday objects. A ceramic cup or plate can become a gateway to personal memories, childhood experiences, survival, creativity and resilience.

Five institutions. Different collections. Different experiences of war. But one common belief: Even when heritage is fragmented, displaced or inaccessible, its stories can still be preserved and shared.

This Friday, we are launching a new series of posts dedicated to selected practices in conservation&storytelling.

We will show how different partner institutions of the “JOINING THE SHARDS – Upskilling of museum operators for the valorization and narration of EU ceramic heritage impacted by war” project use their experience, objects, archives and new technologies to preserve ceramic heritage and tell stories related to war, loss, memory and recovery.

Joining the Shards project is co-funded by the European Union through the Erasmus+ Programme.

#JoiningTheShards #ErasmusPlus #CulturalHeritage #Storytelling#Ceramics #Conservation #Restoration #Innovation

September 23, 2026

Project Partner Spotlight| Consiglio Nazionale delle Ricerche (CNR)

As part of the “Joining the Shards” project, we are proud to work with the Consiglio Nazionale delle Ricerche (National Research Council, CNR) – Italy’s largest public research institution.

Founded in 1923, CNR conducts interdisciplinary research, supports innovation and provides scientific expertise to public administration. With more than 8,000 staff members, including researchers and technologists, CNR plays a key role in advancing science and technology in Italy.

One of its key institutes is the “Nello Carrara” Institute of Applied Physics (IFAC) in Florence. IFAC conducts research in applied physics and ICT, with an important focus on the protection and conservation of cultural heritage.

Within IFAC operates the LASBEC group, a multidisciplinary team specializing in laser technologies for the diagnosis and conservation of artworks. For more than 20 years, the group has developed innovative optoelectronic technologies for analysing, restoring and monitoring cultural heritage objects.

Its specialists have contributed to international conservation projects involving outstanding works of art, including sculptures by Donatello and Ghiberti’s Gates of Paradise. Their research has helped establish laser cleaning as an internationally recognized conservation practice.

The LASBEC team brings together experts in physics, chemistry, engineering, geology and conservation. Its laboratories are equipped with advanced laser technologies for the diagnosis and conservation of ceramics and other materials, while portable systems enable microscopic and spectroscopic analysis.

Within the “Joining the Shards” project, CNR and IFAC-LASBEC contribute their expertise in innovative technologies for the analysis, conservation and restoration of ceramic artefacts.

By combining scientific research, cutting-edge technology and conservation expertise, CNR helps us explore new ways to protect and valorise ceramic heritage affected by war and conflict.

Joining the Shards project is co-funded by the European Union through the Erasmus+ Programme.

#JoiningTheShards #ErasmusPlus #CNR #IFAC #LASBEC #CulturalHeritage #Ceramics #Conservation #Restoration #Innovation

September 8, 2026

Project Partner Spotlight |The Bohdan and Varvara Khanenko Foundation – NGO

The The Bohdan and Varvara Khanenko Foundation – NGO is the leading museum of world art in Ukraine, located in Kyiv.

The institution presents some of the most important collections of European, Asian, and ancient art in the country. The core of the holdings is the collection of Bohdan and Varvara Khanenko, renowned collectors and philanthropists of the late 19th and early 20th centuries. The museum was founded in 1919. Its collection includes works by outstanding European masters such as Rubens, Bellini, Zurbarán, David, and Boucher. It also houses valuable collections of sculpture and decorative arts. Particularly noteworthy are the holdings of Iranian, Tibetan, Chinese, and Japanese art. The museum also preserves objects from ancient Greek, Roman, and Egyptian cultures. In the field of European applied arts, highlights include Italian furniture, majolica, porcelain, Limoges enamels, and Flemish tapestries. Altogether, the museum’s holdings comprise more than 25,000 objects. Before the war, around one thousand works were permanently displayed. The museum conducts scholarly research on the history of its collections, artwork attribution, and museology. Its specialists provide expert examinations and analyses of classical European, Asian, and ancient artworks. The institution also maintains a scientific library and archive with extensive art history resources. These materials are accessible to both domestic and international researchers. The museum organizes numerous educational activities, including guided tours, lectures, and workshops for children, youth, and adults. It also runs inclusive programs for elderly people, low-income visitors, and blind or partially sighted audiences. The staff consists of about 60 employees, most of whom are researchers and curators. During wartime, the museum develops new ways of communicating and narrating cultural heritage, even when artworks cannot be physically displayed.Through cooperation with international conservation institutions, it strengthens its expertise in the protection, restoration, and promotion of its collections.

#joiningtheshards #erasmusplus #erasmusplusproject

Joining the Shards project is co-funded by the European Union through the Erasmus+ Programme.

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August 25, 2026

Project Partner Spotlight |War Childhood Museum Foundation

The War Childhood Museum Foundation’s work focuses on the experiences of children growing up during armed conflicts.

The Foundation operates in The Hague, with branches in Sarajevo, Kyiv, and New York. It cooperates closely with the War Childhood Museum based in Bosnia and Herzegovina, the only museum in the world dedicated exclusively to childhood affected by war. The Museum holds a collection of over 7,000 personal objects and testimonies from 21 armed conflicts.

Renowned for its storytelling methodology, it was awarded the Council of Europe Museum Prize in 2018.

As a project partner, the War Childhood Museum Foundation will contribute its expertise in storytelling techniques and cultural narratives for ceramic heritage.

Through a series of workshops, the Foundation will support participating museums in strengthening their storytelling skills and exploring new approaches to promoting and sharing stories connected to ceramic heritage affected by war. The workshops will also focus on connecting collections with diverse audiences and highlighting the cultural significance of ceramic heritage through storytelling.

Together, we are working to preserve Europe’s ceramic heritage while strengthening expertise in its conservation, interpretation, and storytelling.

This project is co-funded by the European Union through the Erasmus+ Programme.

#joiningtheshards #erasmusplus #erasmusplusproject #warchildhoodmuseum

Joining the Shards project is co-funded by the European Union through the Erasmus+ Programme.

War Childhood Museum Foundation exhibition

War Childhood Museum Foundation

August 9, 2026

Project Partner Spotlight |Museum of Ceramics in Bolesławiec

Museum of Ceramics in Bolesławiec is an institution that refers to the region’s centuries-old pottery traditions dating back to the Middle Ages. Its name and profile are rooted in the local production of stoneware ceramics. Today, it operates through two departments: Ceramics and City History. It continues the pre-war traditions of the Stadt Museum, which functioned between 1908 and 1945. The museum cooperated with the Royal Vocational School of Ceramics, which combined artistic education with technological knowledge. The school also served as a research center supporting the modernization of local crafts. During the Second World War, the museum’s collections suffered serious damage and were dispersed. After 1945, efforts began to rebuild the collection and recover surviving objects. Many artifacts required specialized conservation and reconstruction. The region’s long conservation tradition contributed to the development of the museum staff’s expertise. The institution offers a full range of ceramic conservation services, from cleaning and desalination to gluing and filling losses. It also prepares conservation documentation and recommends proper storage conditions for exhibits. The museum conducts archaeological research, field supervision, and secures and processes discoveries. It collaborates with scholars from the University of Wrocław on conferences and publications. The museum organizes educational workshops, training sessions, and activities promoting cultural heritage. It prepares temporary exhibitions in Poland and abroad and lends its collections to other institutions. Since 2014, it has had its own conservation studio that continuously monitors the condition of objects. Museum specialists regularly organize courses and conferences on best conservation practices. In recent years, projects have focused on the inventory and restoration of ceramic fragments damaged during the war. Currently, work is underway on a new interactive permanent exhibition and a center for historical pottery techniques, strengthening the museum’s role as a regional hub for knowledge and protection of ceramic heritage.

Joining the Shards project is co-funded by the European Union through the Erasmus+ Programme.

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August 6, 2026

Project Partner Spotlight | Staatliche Kunstsammlungen Dresden (SKD)

The Staatliche Kunstsammlungen Dresden(SKD) is one of the world’s oldest and most prestigious museum networks, bringing together fifteen museums and research institutions across Dresden and other Saxon cities. For centuries, SKD has safeguarded exceptional collections while advancing research, conservation and public engagement.

Within SKD, the Porzellansammlung (Porcelain Collection) is internationally renowned for its outstanding holdings of Meissen, Chinese and Japanese porcelain. Established from the collections of the Saxon electors, it has been systematically documented since 1721, making it one of the oldest catalogued ceramic collections in the world. During the Second World War, thousands of objects were evacuated to castles and mines to protect them from the destruction of Dresden. Although many pieces were later taken to the Soviet Union as war trophies, the majority returned to Dresden in the 1950s, allowing the Porzellansammlung to reopen to the public in the Zwinger Palace in 1962.

Today, SKD combines tradition with innovation. Its dedicated conservation laboratory works closely with universities and research institutes, applying advanced scientific methods to study, preserve and document ceramic heritage. One of its landmark achievements is the digital catalogue of around 8,000 East Asian ceramic objects from the historic collection of Augustus the Strong, providing worldwide access to high-quality images, provenance records and scholarly information.

As a partner in Joining the Shards, SKD contributes internationally recognised expertise in ceramic conservation, research, documentation and museum practice, helping to develop innovative approaches for safeguarding and interpreting Europe’s ceramic heritage.

https://porzellansammlung.skd.museum

Learn more about our partner and follow the project as we continue to connect conservation, research and storytelling across Europe.

Joining the Shards project is co-funded by the European Union through the Erasmus+ Programme.

Porzellansammlung, Dresdner Zwinger Tiersaal mit Meissner Tierplastiken des 18. Jahrhunderts gestaltet von dem Architekten Peter Marino

Titel: Zwei japanische Damen Material/Technik: Porzellan, Bemalung: Unterglasurkobaltblau, Eisenrot und Gold Maße: H. ca. 38 cm, D. ca. 16 cm, D. Fuß: ca. 15 cm Datierung: Japan, Provinz Hizen, Arita, Edo-Zeit (1603 – 1868), 1700 – 1730