In the spaces that symbolize European cooperation — in the impressive halls of the European Parliament in Brussels — I recently had the chance to experience a demonstration that changes the lens through which we look at museums. It happened at the invitation of MEP Miriam Lexmann, a Quaestor of the European Parliament and Chair of the Artistic Committee.
We saw the methodology “New Paths to Art – Museum Tours Always Included,” led by the German expert Nils Wöbke. If you think it was inclusive just because the European Parliament has a “ramp and an elevator,” let me disabuse you of that notion: today, the biggest barrier to art is not architectural, but cognitive and communicational. That is true across much of developed Europe. In Slovakia, the architectural barrier still persists as well.
A visionary of the barrier-free narrative
Nils Wöbke is not just a museum educator. As the director of capito Mecklenburg-Vorpommern, he has a background in social management and a specialization in disability studies. He focuses on systemically connecting art and social work.
His project brings a simple yet radical solution to the world stage: museum tours should not have a “special” program. They should always be inclusive. This idea — inclusion as a standard, not a side program — has rightly earned international recognition, including the Zero Project 2020 award, which honors innovative solutions for a world without barriers.
What does it look like in practice? Peer mediators in the lead
At the demonstration in the EP that I attended, the tour was not led by academic experts, but by trained peer mediators, many of whom have first-hand experience with disability. These guides are trained not only in art history, but above all in communication and empathy. Forget professional jargon: the works were explained in simple, easy-to-understand language — by people with disabilities, through their lens. The guides drew on their own stories and visions of the artworks, which immediately engaged us. They encouraged participants to join in with their own discussion, interpretation, or even disagreement, affirming that the visitor’s perception is equal. The aim was not to “evaluate” the artwork for a person with a disability, but to create a space where everyone can experience art — at their own pace.
Why should this model matter to everyone working in culture?
The European Union is characterized by its linguistic and cultural diversity and supports access to information in 24 official languages. Yet we must begin to promote the 25th language of accessibility — plain, easy-to-understand language that removes the last content barriers. By introducing plain language, training empathetic guides, and supporting peer mediators, we serve society as a whole. When an explanation is clear enough for a person with a cognitive disability, it becomes higher-quality, more engaging, and more understandable for everyone. For HendiKup — whose mission is to make the art of creators with disabilities visible and to break down barriers — this experience is a direct roadmap. It has shown that culture is not an expensive luxury, but a real opportunity that significantly improves the experience for everyone.
I left with the feeling that the greatest innovation the cultural sector needs today is not technological. It is communicational. When we stop proving how much we know and start speaking so that anyone can respond, something very practical happens: artworks gain more meaning, people gain more courage, and institutions gain more trust. And that is exactly where we want HendiKup to belong — among projects that don’t add a “program for a minority,” but change the standard for the majority.
Ivan Páleník,
CEO go-ok
Co-founder & Headhunter @ HendiKup.sk
Note: This text is based on my personal participation in a demonstration of inclusive guided tours at the European Parliament in Brussels (November 2025). Photos: Ivan Páleník