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Sweden saw 27 bombings in 27 days to begin 2025.
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The bank cited easing price pressures, “moderating” wage growth, and declining corporate profits as the main reasons for its decision.
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Kirsty Warner | 21 January 2025
From the 7th to the 9th of October, I had the opportunity to visit the European House of History in Brussels, a trip that marked a significant step in gathering material for my chapter, Museums and the Evolution of European (Union) Identity Construction (1970–2024), part of the upcoming book Pop Goes the EU: Framing European Identity in Popular Culture. This chapter traces the history of the European Union’s engagement with museums, considering how they have been used as spaces for the construction of citizens European (Union) identity.
Entrance to the European House of History
The European House of History, opened in 2017, is central to this inquiry as it represents the EU’s attempt to conceptualise its identity beyond political and economic integration. By focusing on pan-European themes, the museum raises questions about the very nature of EU (Union) identity: What stories are told, and whose voices are included? My visit allowed me to explore the narratives presented in its exhibitions, offering a deeper understanding of the museum’s approach to these questions.
Conflicting Views on the European House of History
The European House of History is not without controversy. Critics have accused it of serving as EU propaganda, promoting a vision of Europe that centres on integration successes while glossing over its complexities. Whilst others have reported that the museum has been called a “vanity project” and an “offensive waste of money” with an estimated €56m price tag. Supporters, however, argue that the museum provides a unique opportunity to conceptualise a European identity that transcends national borders, creating a thematic narrative that connects shared histories and values. These debates are integral to my research, as they reveal the tension between creating a cohesive European narrative and addressing the diversity of experiences across the continent. Evident is the challenge of balancing a unifying narrative with the complexity of diverse historical experiences, reflecting broader debates about how history is curated and presented in institutional spaces.
By placing ‘the narrative’ of history at the core of their mission (rather than, say, objects from the past), they attempt to provide a decisive new idea of Western history. Such ‘houses’ become intellectual ‘safe spaces’ for the postwar elites’ idea of history. (Hungary Today 2025.01.11)
During my visit, I observed how the museum organises its narrative through thematic displays rather than chronological or strictly national ones. This approach attempts to weave together common threads—conflict, cooperation, migration, and innovation—while subtly framing the EU as a central actor in Europe’s contemporary story. For example, exhibits on post-war recovery emphasise the European Coal and Steel Community’s role, while sections on cultural heritage reflect the EU’s efforts to protect and promote shared traditions. This is further evident in the Milestones of European Integration II section of the Shattering Certainties Gallery; the glass cases feature a partial print of the EU flag, underscoring the EU’s role as a central actor in the narrative and highlighting its pivotal place in the continent’s recent history.
Pillar of Integration (left): Glass pillar featuring a partial EU flag, symbolising the EU’s central role in Europe’s contemporary story. EU Passports (right): EU passports from member states are displayed within the glass pillar.
Narratives Beyond the Institution
What stood out most was the interplay between institutional narratives and public interpretation. The exhibitions invite visitors to engage with the material through interactive displays and multimedia content, creating room for reflection and debate. This aligns with the broader purpose of the book Pop Goes the EU, which examines how the EU is framed in popular culture and how civil society actors contribute to this framing.
My visit to the European House of History was invaluable in shaping the concluding section of my chapter, where I explore how museums like this one attempt to conceptualise European identity. While the EU’s museum involvement has historically focused on supporting cultural heritage without encroaching on member states’ culture, the European House of History represents a shift toward a more deliberate common narrative about European integration and identity.
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Norway is bound to adopt EU energy laws as a member of the European Economic Area – which the eurosceptic Centre Party has opposed.
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She clarified the EU’s equivalent of NATO’s Article 5 will now include space.
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New data is likely to increase pressure on the European Central Bank to rapidly cut interest rates.
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