The Museum Review, in its April 2026 edition, celebrates 50 years of freedom and democracy, analyzing the impact of these achievements on public policies for museums in Portugal. The publication, coordinated by Clara Frayão Camacho, is based on critical analysis and the UNESCO Mission led by Per-Uno Ágren between 1976 and 1979.
One of the featured articles is by Miguel Rego, titled “Cláudio Torres: Museology is Not Discussed, It Is Practiced!”. The text explores the link between museology, research, and the development of territories far from the coast, with a particular focus on the interior Alentejo. Cláudio Torres's work at the Mértola Museum is presented as a revolutionary example of territorial transformation and local development, anchored in heritage and the community.
According to Miguel Rego, the Mértola museum complex, initiated in 1978 under Cláudio Torres's direction, represents an essential project in the "deep Portugal" landscape. This initiative stands out for its safeguarding, dignification, exhibition, and study of memory and identity, demonstrating the potential of museums as drivers of economic development and tourism attraction.
The article emphasizes that Cláudio Torres's project extended beyond Mértola's historic center, with the museums playing a crucial role in defining the scientific and cultural project, fostering community belonging, and enhancing the urban fabric.
The publication highlights Cláudio Torres's multifaceted involvement in museological projects, where he acted as a museologist, architect, designer, photographer, and content producer. His approach brought to post-April 25, 1974, museology the conviction that it is possible to combine research, presentation to the citizen, valorization of local identity, and adaptation of available resources.
Cláudio Torres's intervention methodology, which led to his dismissal from the Faculty of Letters of Lisbon due to bureaucratic issues, continues to influence projects in the 21st century, promoting constant dialogue between scientific teams, local agents, and the community. The Mértola Museum is presented as the prime venue for valuing this work, reinforcing the idea that museological discourse "is not discussed: it is practiced".
