 We'll now continue our discussion right away with the next panel, spotlight on Rijeka museums. We unfortunately can't be in Rijeka. Tiana was already mentioning that we should have been there, but 2020 is a weird year, so we are all in front of our screens, but that doesn't mean that we can't learn about what our colleagues in Rijeka's museums are up to and what the latest developments are. So I'm giving the floor right away to Dargo from ICOM Creature. Actually, this whole panel, and this is maybe what I want to say, has been conceived by our colleagues from the Creation Museums Association and ICOM Creature, Vlaster and Dargo. And thank you very much once again for your input and the willingness to contribute to this. So Dargo, the floor is yours. Thank you, Julia. As you said, and as it was said before, sadly, really sadly, we are not in Rijeka, just to give you a short illustration, colleagues will do that much better than me. And because even myself, I'm sitting in Zagreb, the capital of Croatia, not in Rijeka. So instead of foggy morning or even entire day, like three or five, maybe seven degrees Celsius, Rijeka is more or less still blue sky, you know, see in front of you, 20 degrees around or so. And that's just part of the reason why we are also sad that we are not there. Anyhow, the situation is as it is. And the only option we had is to organize the panel and to put the spotlight on the Rijeka Museum this way through the online session. And for the most, I would like, as Julia said, this session is organized by Creation Museum Association, together with me, I can Croatia partly, and of course, colleague from Rijeka Museums to give you some kind of overview. It's not possible to give the entire idea of Rijeka as a city. And the surrounding of Rijeka as well and as a museum and heritage in 45 minutes. Anyhow, we will try to do it in next one hour, with a showcase of four museums based in Rijeka, just to give you idea of not only what you are missing or what we are all missing, sadly, but idea of complexity of the city and the diverse heritage Rijeka indeed possess. As we had in our previous sessions here too, you are welcome, all your attendees are welcome to, you know, put your question in the chat. We will try to answer some of them probably. It will not be possible to answer all. Anyhow, we will try to do as much as possible. So not to steal the time from my colleagues. I will just introduce now our first panelist in this session and that's Zelka Modric-Surina from Natural History Museum of Rijeka. So, Zelka, please. Hello, everyone. I hope you can hear me. As you can see, I am currently very happy to greet you in front of our museum, in front of the building of the museum. Happily, the weather is fine. Although Rijeka is a pretty rainy and pretty windy town, I am situated in front of the museum because of this epidemic situation. My other team is working in the museum and we are not supposed to mix. So I will share my presentation with you in a bit, just a second. Okay, so this is the building of our Natural History Museum in Rijeka. And this was supposed to be a short movie, sorry. Just a movie clip to introduce you to our museum. I hope you will be able to... So this was a short introduction to our museum. Our museum was founded in 1876 by the Natural Historian Josef Roman Lorenz and the conception of the museum was done according to the Vienna Natural History Museum and it was meant to be a regional Natural History Museum as it continued to be till today. The museum was founded in 1945 as the first museum in Rijeka, the oldest museum and it was opened for public visiting in 46 a year after the Second World War. About our collections, as Darko said, we have the opportunity to work with a very diverse region, very diverse in a sense of natural history and biodiversity. So we treasure about 90,000 of specimens in our collections and our collections represent minerals, fossils, plants, animals from our region as being regional museum. We do most of the collecting ourselves beneath the sea or on the land. Our exhibitions, our permanent exhibition is of course promoting the natural history of the area, not speaking about some distant places, but our own region. And we try to make it as interesting as possible. So recently we have developed an anti-exhibition that was done in 2014. And the anti-exhibition is the exhibition where nothing is exhibited until you want to see it. So everything is in dark until you approach the exhibit. Once you approach the exhibit, then the exhibit is shown but without any interpretation. If you want to see the interpretation, you have to actively engage and use our application. So this is a really researching experience for the visitors and we have it only in one part of our exhibitions because to visit the museum in this exploring way, the whole museum, it would be very demanding for our visitors. We also do a lot of temporary exhibitions. This was an exhibition of Patagonian natural history, the giants of Patagonia, the dinosaur skeletons that traveled from Patagonia to Rieke and we used an old warehouse to exhibit this exhibition. Since we have a very small building, we use the public spaces as much as we can and we have exhibitions on airports, fisheries, parks, other museums, city streets or squares. We also have living parts of our museum because this is the best way to represent the natural history, the fragile beauty of living beings to our visitors. This is the best way to make them connect and feel concerned for the endangered species also. And in our museum in 1947, there was a small zoo and aquarium that was open. The zoo and aquarium were closed because of the bad conditions for the animals because everything was really small and not made in the best ways for the animals. But today we try to have botanical garden that I'm sitting in right now and that represents about 100 of plant species that are characteristic for our region. And also we have several initiatives to start with botanical gardens and real big aquarium here in the city. We give a lot of intention to different communication and education programs with our public. So every year before this COVID situation, of course, we had about 400 different workshops for different public target groups yearly. And we are a very small museum, I forgot to say, we have 11 employees. So these 400 workshops in 365 days is a lot. But in this way, we try to engage the community and we've kind of developed a good communication with our local community. Today we have a lot of trials to do educational and other communicational activities online. So we have started with making our own little documentary movies or that are on our YouTube channel. And we kind of try to compensate with this lack of physical contact with our public. We also do scientific research as our regional research center. Regional biodiversity is really very rich. Our curators are very motivated in scientific works. So we've done a lot of explorings and we also discovered some completely new species that were not known for the science before. New plant communities, new animal bio, new animal communities and et cetera. And we have these whole type specimens, the specimens that are the first representatives of some new species in our collections that are the most valuable part of our collections. We are also engaged in protection of nature, natural habitats and species. We use our knowledge and the data that we have in our collections to actively participate in different projects concerning active protection of nature while helping some species or some habitats to survive all the changes in the environment. And this was especially challenging for us during this Rieka 2020 year where Rieka is a capital of culture because there were several great participatory projects done within the program of Rieka 2020. One of them gave the local communities and people the power to make our city greener but the understanding of a greener city and helping biodiversity by public is not necessarily the correct one. So we had a few examples where very good intentions were not so good for nature. And this was a pretty challenging year for nature protection in Rieka actually, although it sounds probably very weird. We also operate in a very small town in a mountainous area of our region in Brodnokupi. This is a small town situated on the border with Slovenia. And we inherited some hunting, fishing and the forestry exhibitions there that we are just currently completely remodeling to a very new permanent exhibition representing the diversity of mountainous areas in our region and coming from the karst underground till the mountain tops and skies beneath the mountain tops in this mountainous region of Croatia. The opening of the new exhibition is planned in December. So I hope that there will be other opportunities for you to visit Rieka and also this small town of Brodnokupi. And just to conclude about our museum. So we have different and interesting items in our collections coming from 500 million years ago, coming from great depths of the sea, coming from great heights of the mountains, coming from about 2,000 different localities. And we try to use different ways to communicate the importance of the natural history of our area, the diversity of it and the need to preserve it to more than one million visitors we had since our museum was founded. So in short, this was an overview of our museum. Hope you were able to see it. Thanks a lot, Jelka. I could confess as it's worth to go there, it's worth to visit your museum. And now we are moving just few, less than 100 meters away to Anatomac. And that's the Meritimen History Museum of Croatian Coast. And I'm inviting Vana, she's with us, to share part of their experience, part of their story. Please, Vana. Yes, of course. Thank you. Hello to everybody. And thank you, Darko, but also to the organizers for this wonderful opportunity to present our museum. Just let me share the screen. So our museum has a very long name, Meritimen History Museum of the Croatian Literal Rijeka. It is regional museum, such as national museum that Jelka just presented for the regional. County. And also it belongs to a type of complex museum, which is reflected in two aspects. First being that our museum comprises of several very different departments, such as archeological, ethnographic, maritime, art history and cultural history. It collects, preserves and partly exhibits over 60,000 at the museum exhibits divided in 47 museum collection. But the other part of our museum being complex, it's regarded in the fact that all that museum preserved heritage is very often in need of multi-perspective interpretation because it was created in the cultural crossroads between the European East and in the European West. It was created in the midst of diverse, sometimes joined, but sometimes confronting identities. Some of them, for example, regarding our unique geographical position which comprises of maritime but also continental highlands components. Then regarding our very rich cultural, linguistic, ethnic influences which have accumulated over the centuries. Then regarding our very unique political and social influences as well. So if you were living in Yereka in the 20th century, it was most likely that during your life in the United States. Also, there are some other more general, we can say, similarities which manifest between rural and the herbal and something then the whole spectrum in between which can manifest between the genders and so on. Another thing, our museum also covers a very large timespan from prehistoric times until the modern age. So it has accumulated also all sorts of human experiences as well. Some of them are challenging. Others are relaxing. Some of them are dealing with vanity and others with substance. Some are dealing with creation and other with destruction. Some are inviting and the others are defensive. And then some are dealing with traveling, distant places and surviving. And the others are dealing with returning home. And in our museum case, home is our governor's palace which is situated in Yereka which is a wonderful, wonderful exhibit in itself. It was built by the end of the 19th century by the Hungarian government. And now it is preserved as a national cultural heritage. Also, governor's palace is a home of our permanent and temporary exhibition of our educational program. It is the meeting point of our present and test. It is a place of making sense but museum making sense is an endeavor that cannot be achieved without good cooperation and partnership with the local community. So over the years, we have recognized and supported several local, mostly bottom-up initiatives which were aiming at local heritage protection. So we have gathered and institutionalized several dislocated collections and made them museum subsidiary units such as ethnographic and archeological units on the island of Kirt, Tzitzki, and Dobrin. Then we have a wonderful maritime collection in the oldest still working shipyard on the east of Adriatic in the Krajevice. We have a beautiful local museum in the old city of Kasta. And then we have a memorial center which we opened in the village neighboring to Slovenia, Lipa. Memorial center Lipa Remembers. I will say a few more words about this, our dislocated unit because it deals with a very difficult heritage. The museum was dedicated to the atrocities during the Second World War when the Nazis and the fascists in just a few hours killed 269 people from Lipa and burned the whole village to the ground. So the permanent display of the memorial center is composed out of two opposing strength holds. So in one hand, we have a continuity of living in Lipa from the prehistoric times until today and on the other hand, we have a horse of war. We have life opposing the death, good opposing the evil. And in that sense, we wanted to emphasize the local identity. We wanted to present various local heritage as a testimonies on profoundness of life so that museum can contribute to recovering the main effect of trauma that is one's lost sense of meaning. The home museum here in Lipa was entirely conceived with the cooperation of the local community. Four generations of surviving people of Lipa. So today, they are considering a museum to be an extended part of their homes. It is their platform for communicating, mediating their memory. And also are quite involved in creating and implementing all the museum programs. And in programs, we are trying to combine community engagement with the culture of remembrance and then with all sorts of contemporary art forms as well. We wanted in that mix to research what are the museum's potentials to contribute building world's peace. So we have tried, as you see, very much to include people in our museum, but not only as visitors, as spectators, but as contributors to everything the museum is doing. And we weren't still satisfied enough because all that we were doing was not systematic. It was not permanent. In order to achieve those two things, we had to go back to the main structure, to the existing structure of the museum, whose work is governed, is managed out of two instances. First being governing council, which is dealing with the financial and general museum business. The other being expert council, which is dealing, is composed out of museum experts, curators, educators running core museum business. And then there is director who is balancing between. So we thought it was very important to integrate within this museum structure another instance that will manage museum from the perspective of its users, the citizens. And do that through the organization of civil society. So our director founded Civic Museum Council, organized composed out of five NGOs. And for the past few years, they have been intensely working in defining their place within the museum in creating a framework for their activities and responsibilities. They were delivering all sorts of documents regulating their work and positions such as strategy, rule of conductment, conduct rule book on criteria for selection of new members and so on. And by adopting those documents by our museum director, our museum became the first in Croatia to fully implement participatory governance. The decision of the first convocation of the council was that council should always be comprised of six members, one always being museum and the other five coming from the NGO. One of them always has to represent the socially excluded groups. The others come from all other sectors of the civil society, health education, sports, culture, social policies, whatever. Every three years, the old members of the civil society are picking up selecting the new members. As for their duties and activities within the museum, they are obliged to give their opinion on the museum yearly programs. They are obliged to themselves implement one exhibition and two educational programs per year. That's minimal, they can do more if they're interested and engaged. Then they are collecting objects for the civic museum collection. Their administering digital online platform museum has installed for the public engagement. They are the administrators of that communication with the public online, via online. Also they are coordinating all museum participatory and multi-sector activities, and so on and so on. So we established the Civic Museum Council as our way of making the museum more sustainable and more relevant in the future. Thank you for your attention and that's it. Thanks a lot, my name. It was just as you can imagine now out of these two presentation, it is the diversity of the city and diversity of the region through, of course, natural history to the history and everything what one actually explained to us. And now moving even more, now we are moving to the Rijeka City Museum. Some city museum and the valid package will share with us some of experience of the city museum. So, valid, please. You need to unmute yourself first, please. Perfect, you can go on. Hello, once more to everyone. I want to tell you a few words about Rijeka City Museum. This little presentation have a title, as you see, Scattered Museum. Why we can hear on another, on another pictures. On the beginning of this presentation, I want to tell you a few words about biography of our museum. As you see, at 1971, we established as the Museum of People's Revolution. We work from 1976 in modern building, so called the cube. Why the cube, you can see on this picture. At 1994, we have a new role. We were reorganized and renamed as institution in the city museum of Rijeka. Last few years, four or five years, we have expansion on several locations. And this is the reason why I called, I have title of this presentation, Scattered Museum. The term scattered is stolen from tourism industry. We know for term scattered hotel. This is hotel, which function on several locations in the urban organism of the city. Our first location on square, Ricardo Zanella in the center of the city is of course, R the cube. This is the place for periodically exhibitions dedicated to the city's history or city's art. On this photograph, you can see, this is the new photographs and you can see unusual situation. Museum is not the part of USA election process. This is the moment of building of renovation for better use of energy. This process of renovation was made to last two years. Our second location is at Crashimiroa Street, 28. This is one Sugar Palace, former headquarter of Sugar Refinery. Sugar Refinery started his work, its work in the middle of 18th century. Later was part of Tobacco Factory and Factory Ricard Benchage after World War II. And today is museum of the city, new location. We opened this location few days ago. Museum's new space will be for first permanent exhibition about city's history. We have not until this moment place or conditions for our permanent exhibition dedicated to the city's history. You can see what was inside of the palace few years ago. Sugar Palace become most important exhibit of museum of course. Originally that was the biggest business palace in Habsburg Empire. And the starting point of Yakas industrialization from the 1750 until today. You can see on this photograph moment before end of building renovation and big interest of local inhabitants for this palace. Last three years we have bigger reconstruction of Sugar Palace as a part of future Yakas Art Square Benchage in the center of the city. This moment of reconstruction is also part of project of Yaka Capital of Culture, European Capital of Culture 2020. This is photographs from Hall of the Dutas. Another part of the palace is very close to the situation. Process of restoration of wall painting and the stucco's and other elements of interior during 70 years, during 17 years. And these photos are made I think one year ago. On this photograph you can see moment of three days scanning sculptures of the head on the front side of the palace for making replicas. This is not just a usual, this is not just everyone's usual situation because you can see on the hair of this guy on the wall of the palace, sugar cubes. This is the symbols of sugar refineries. Museum opened in 2020, few days ago, we have a big ceremony. This is our Friday 13, but it was a lucky Friday and we made first time in history of this museum permanent exhibition designed as combination of original objects, replicas of original objects, modern technologies and interactive way of thinking. On this photograph you can see hall dedicated to the story about Rieka's torpedo invention. This is the installation which included films, photographs, parts of original parts of torpedoes mechanism and interactive elements. Our third location is permanent exhibition on Rabitsa square four. This permanent exhibition have its title, torpedo of Rieka first in the world and everything happened in complex of the old railway storage house from 19th century. This permanent exhibition on the Rabitsa square four was opened in 2016. Our fourth location is at Užavska street in the center of the city. The city museum of Rieka together with the Jadrank Galenski laboratory Rieka is also living the pharmacy museum. This pharmacy museum was opened at this year as you see just one month ago. Our fifth location is ship Galleb. This ship was made at 1938 and from today's point of view it's a very good link between industrial heritage of the city and political history from this country and from this part of Europe. The ship is today in reconstruction process in shipyard in the city of Krajewica very near to the Rieka and we all believe that will be a very big futuristic attraction. The idea is to after reconstruction of this ship to give the inhabitants and tourists and all of other chance for visit this ship in the main city's breakwater today's ship I said in reconstruction but next year we want to see this ship in the center of the city as a big cultural monument of industrial heritage. This is a look inside of the city before reconstruction of course the chapter of the story from period of USLA President Josip Ro Stito he is very famous political figure all over the world and you can see original parts of the ship's furniture from the 50s and from the 60s everything is now in the process of restoration some parts are finished some parts are not but all from this since you can think how interesting is interior of the ship. So we have many locations but we believe that many locations produce many questions but we believe everything is easier when you work in a good team but we in museum have a very very good team we don't be afraid of this but it is very interesting conditions thanks to all of you. Thanks a lot, it was indeed interesting and as you mentioned the two locations you are running actually one open in October and one open four days ago on Friday as a course part of not only initiative connected with the European capital of the culture but also partly connected with it. I'm monitoring I'm guessing the others are doing the same there is some question in a chat and there is always some answers in a chat we will have some time at the end for a question in live but if you follow that you can find some of your answers over there to be quick and to have the time to give the floor to the museum of modern contemporary art and to introduce us to give us an idea about the fourth museum we are presenting in this session. Okay, hi everyone from this fourth spotlight in the panel on the museum of modern contemporary art with my fellow curator we will briefly unfold actually a response to the title and explore how contemporary artistic practices help us make sense. So some of you have yesterday had the opportunity to have a look at the museum's current exhibition of town dedicated to a famous character from our childhood which actually addresses different audiences unfolding many contexts. It is for once the playground for children but it also besides that it brings to public historical research on film production in socialist Yugoslavia as well as it explores different issues and social values such as friendship solidarity community building or ecology but it also brings to the museum which was established in 1948 in this post-war wave of building cultural institutions for a new society and since then has been renamed couple of times and actually also moved to couple of locations before settling to the current venue in 2017 a repurposed factory building in a former industrial complex so this situation actually gives the museums today its shape and identity and it is in the neighborhood that the City Museum of Prijeka just moved in and we believe this synergy will actually form new momentum such as the history of renaming and name changes and developments is inscribed in the developments of institutional policies as well as the understanding of art. In the museum programming lately the attention was on artistic practices of the 60s and 70s and relations we established today it was an important period in the history of art that embraced criticality and informed current artistic curatorial and institutional perspective. Such critical positions also the global artistic scene it was the period of exploring new and alternative ways of artistic production and presentation of art redefinition of the work of art and the change of conventions and questioning of the system of art. So such analytical and critical relations to art and its social context actually remains a main trajectory of the museum concepts and methods and Xenia will guide us through some examples of programs and activities at the museum. Hello I hope that you can hear me for all so thank you hello. We can hear you but we cannot see you yet. Okay but you can see the power point. Yeah we see the power point we can go on. Okay thank you. So also thanks for the intriguing conference and all the insights. I would show you short travel through the museum history. Our museum is also known as the Red House and it's actually the first tenant of the former industrial complex Likert Benchich where it moved three years ago after 70 years of relocation. The new building is also called a one million euro baby and it was adapted based on the principles of gradual growth with respect to the former industrial architecture. It was designed by Dinko and it was presented as part of the creation program for the Venice Bay annual in 2016 under the motto we do it. It is the space with an enormous potential and positive atmosphere. It is often referred to as the new city center or the extended city center. However we are still facing some limitations as the work has not been finished yet. So the second and third floor are still undergoing reconstructions and we are moving this first floor of the building. Because of that we are struggling with the lack of space especially for our collection and larger art installation. The collection or as we tend to call it the hidden museum gathers around 8,000 works of art with the focus on the second half of the 20th century and the regional art scene. Parts of the collection are made accessible online as part of the European Union Project Digitization of Contemporary Art and Portal Europana. Actually we are one of the first museums in Croatia to offer online presentations of our works. One of the programs that showed the collection was the exhibition by Rieka born artist David Mykovich for the opening of Rieka European Capital in 1990. The artist exhibited around 300 works on the three meter high pedestal. He presented the collection in an experimental way pointing to the issue of the museum's limited spatial conditions and also overstaffed storage rooms. So the excitement of discovering new artists establishing dialogue between the agonists have been part of the museum's history from the very beginning. The museum was entrusted with the organization of quite known large scale manifestations firstly salons, then international drawing exhibitions and then the Biennial of Young Artists of Yugoslavia. And this shows also points to the constant update of the museum's role. The traditional important part of the program are the exhibitions of works from our collection. We present the collection mainly every two years with flexible, changeable setups that also include parallel activities like workshops, play rooms especially for older people and also for youth. Equally important are the exhibition-based exhibitions and also case studies that deal with the changes within the modes of producing and exhibiting art. Relevant for understanding of contemporary art practices but also for broader cultural changes of great significance even more in corona times are the shows with international scope that bring together young artists and motivate new productions. Those shows are dedicated to urgent issues like migrations, otherness social-political upheavals for example smuggling ontologies or risk change projects that were European Union funded projects. Spialica roughly translated Get Together is another collaborative international project we gauge in. It is a project that is still evolving in the format of interventions in public space with around 20 productions per year. We plan to develop it further also in the Benchage district with a vision of the museum as a polyphonic space shaped through the imagination and we really hope that we could meet live in the Benchage district soon. Thank you. Thanks a lot. Thanks a lot, Branca and Xenia for short introduction as you can all easily imagine bringing four museums in 60 minutes it's not an easy task and the time for presentation was pretty limited. Anyhow, we have some 10 minutes at least to answer your question my phone is ringing, sorry. I will say for a beginning that as I already mentioned there is some question and a comment answer so already in the chat one about the Civic Council which one presented one already shared the link as a part of extra experience with that and in that relation we have question to one of course that the finances always kind of the question going on around and the question is for one is more or less working with the Civic Museum Council how much extra resources do you need to manage stay in touch communicate work with them so one can you share a little bit of that experience? Yes, it is a considerable source that you need and that is never planned when planning participatory programs your own time and activities that you will be sharing in that direction but there's another way of looking at it if you consider people, citizens are real partners in creating culture, defining culture then our citizen partner is no different than the designer than the other consultant any other part of the process that is now present so in my attitude I consider people from the Civic Council to be my co-workers like any other co-workers like other curators other educational workers in my museum I consider to be on equal level because it doesn't need extra energy because we are all doing the same thing and we are all collaborating so first you have to make a mental switch to consider them really as your partners in work okay it's always as we know it's always when you're doing any kind of there is more and the question about the finance will come partially off okay about the finance all the projects of the Civic Museum Council are funded like any other museum project so museum council is writing the project and applying the project for the ministry, the county like any other museum project so it's no different but I would also if I have okay I would want to take a bit more time okay thanks thanks Zelka I'm guessing you saw the question in a chat more or less it's how anti-exhibition if you will use the same words in Rijeka received by the visitors in Rijeka if the question is correctly proposed our anti-exhibition is really an anti-exhibition since when you enter the exhibition room everything is in dark except for the sharks because sharks are very big and we couldn't put them in the dark so everything else is hidden and once you come near the object and it's on then you are kind of surprised that there is something and if you want to know what this is you have to use our application and this thing with application is a kind of challenge for some people they have a natural hesitation to technology used of technology in our museum the elderly especially but general public like the idea they spend more time in this exhibition room that they used to do before we had this anti-exhibition with almost the same exhibits in the room so generally it is very good it is taken very good but it wouldn't be a good idea to do the whole museum permanent exhibition in this way because it is too demanding for the visitors they have to do something all the time and people are not people are reluctant to do this the whole visit to the museum Thanks, thanks Rieka and Branka and Xenia can you comment a little bit more about Balthasar city in Rieka the main idea behind it and what was the guiding through and main idea actually behind that can you comment a little bit about that we have questions about that and you please yourself sorry the exhibition at the museum is actually a collaboration with European Capital of Culture and their program line Children's House it is a new infrastructure for culture for children that is building up next to the museum in the same neighborhood with the city museum of contemporary art and it's going to open to be open next year it will be a place for children including film, contemporary art, but also a library so this was kind of a starting point to have a children's exhibition in Rieka another thing which is interesting is as sometimes or often many ideas developed from a footnote in an interview by the master the cartoonist of the Balthasar saying that in the second decade of the cartoon he was inspired by the vistas of Rieka to construct or to include it in the image of the Balthasar town formerly it was the mix of Zagreb and New York to shape Balthasar town and in the second decade of the cartoon was also an inspiration so this is another next link and the third one is in unfolding the exhibition with the designers and the curators was actually the idea how to bring a totally designed almost a Gesamtkonspekt design for children into a place for play and this is how actually this film historical part is included into this decorative designs so I hope this answers the question I do so, thanks a lot and well can you comment shortly about the Ciccerana Palace you opened on Friday and maybe a few words about the museum pharmacy and what are the reactions and this kind of the stuff it is very recent anyhow but what is the first comments you are receiving back you need to unmute yourself put the microphone on can you hear me yes first reactions are very fantastic many inhabitants of the city make groups for visit of museum first eight days this is our week we have organized during the whole day visit to the city from early morning until late at night every 90 minutes two groups of visitors go in the museum in the group of 25 people of course because we have 60 minutes for visiting the whole exhibition and 30 minutes for this little pausa for this infection of the space we make tickets yes and the tickets we have also disappearing in 24 hours fantastic reactions of the city another question was for museum of pharmacy yes this is our newest parts of activity collaboration with Yadrangalinsky laboratory this is a very attractive exhibition dedicated to the history of the pharmacy in the city and all of the world we are linked of the world and this is very attractive atmosphere very specific, very good place new technologies, atmospheres inside very inspirative for the visitors and we believe that will be very, very nice and good story for the next days thanks a lot we are coming very close we need to end as you can follow several comments about the positive experience people are looking to come to the museum all of you there is some more questions there is interest you can follow that you can go in touch with those people asking about that there is discussion about that my final comment before giving floor to Yulia you said it is windy but it is not rainy we see the sun in your background today it is not rainy but Rieka is one of the two cities in Croatia that has the most rainfall during the year we are coming close to 2,000 km per square meter so we are in a rainy region statistically true not on your image I am very happy to be in position to moderate this part I am thankful to NEMA Creation Museum Association I am giving floor back to Yulia Yulia please thank you all colleagues in Rieka this was a great presentation we know what we are missing we have all of us and we all put that to our bucket list so please be ready to welcome a lot of colleagues in your museums in the future we will continue our program after a well deserved very long lunch break at 3.30 CET Central European time for the webinar we will publish a visitor experience planning for museums the webinar how to become relevant will be facilitated by Lisa Baxter and Jan Warnecke please join in time we want to start at 3.30 CET for those who have registered you should have received a separate link for the webinar in the afternoon if you are interested in joining and have not registered in this webinar in this chat so with this I leave you for your break and I am looking forward to seeing you later bye