Reti creative
Coordinamento: Tara Aesquivel
Un’esplorazione dei legami tra arte/cultura e chi crea, produce, media e fruisce.
Framing the socially invisible: a transdisciplinary gender analysis of two documentary films on jazz
The article focusses on the analysis of two documentary films by Ramon Tort: A film about kids and music. Sant Andreu Jazz Band (2012) and Andrea Motis. The silent trumpet. A story about the suc-cess of simplicity (2018). The first film allows for an analysis of the Catalan jazz band as an agency of degendered socialization, teaching school-age boys and girls how to play jazz while being part of a group and building the self-confidence also allowing them to envisage a career as professional mu-sicians; the second film, on the launching of the international career of one of the previous ‘kids of the band’, shows the relation between socialization within the band and the successful breaking of the invisible barriers hampering women’s access and career-making within occupational fields still conceived as a male dominion – as in the case of jazz. The integration of standard tools of social re-search with an audiovisual methodology allows to identify the logic and dynamics of the cultural work framing a creative space, grounding both the educational and occupational experiences con-sidered and their documentation, where the relation between jazz and gender is articulated follow-ing egalitarian principles.
Music Industry: between indie productions and innovative startups
In these times we used to talk about every kind of art expression as performative acts: for visual arts and also for music. Like all performing art, also music introduces itself as a theatrical experience, an all encompassing and communal experience – the involvement of spectators for first, feelings, the emotional power from the rituals surrounding these shows, the experience. In this cultural landscape, in our times, two things seems in opposition, but they don’t: on the one hand, the introduction and the diffusion of new technologies creates open space to experimental form, sort of mash up between music, video and interactive systems ( it results from the tradition of the experimental music from 1970, with personality as Philip Glass, Laurie Anderson, Meredith Monk, Steve Reich, Robert Wilson, Peter Gabriel, Brian Eno and many more), even introducing AI (artificial intelligence[1]) or VR (virtual reality), the simple streaming vision of a live show, and also more relevant implications for music business. On the other hand, economic crisis put every musicians in the necessity of embracing new ways of sharing, creating and selling music. This necessity often is a translation of a new kind of diy (“do it yourself” practice) for musicians, producers, promoters, helped by digital technology: this is not valid only for live events (different places from the institutional ones, as record store, Blutopia [2] in Rome for example, or clubs, different tour management or self-promotion with the use of social media and video sharing) but also for single musicians, emerging bands or labels and associations. As an interesting article writes about music business – which we can extend also to music and musicians in general: “the music business has been through a number of changes in the last fifteen years, and has often found itself at odds with emerging technology (…) Decimated by piracy and services like Napster, record companies tried to adapt, first by selling mp3s and then finally agreeing to join forces with commercial streaming services like Spotify and Apple Music. Those services represent an ever-growing portion of revenue for labels and artists, but one big problem remains – they fail to make up for the loss of income due to declining CD sales. Fortunately, there are a number of new technologies that will bring major changes – and significant financial gains – to the music business.[3]”
Boosting gender equality through music production. A case study on two Italian female brass bands
The new centrality of the cultural and creative sectors in the socio-economic development of contemporary capitalist societies has brought to acknowledge arts and culture as a fundamental asset for territorial development. The debate has mostly focussed on the potential role of artistic and cultural production in boosting the attractiveness both of cities acting in a competitive global scenario as well as relatively remote locations neglected by standard tourist routes. Less attention, however, has been paid to its transformative action in the social fabric, requiring the analysis to include an ethical dimension within discourses on socio-economic development. In this article I will adopt the latter perspective, considering the potential contribution of artistic and cultural production to the process of enhancing democratic and inclusive morphologies in local territories (UCLG 2021). The discussion will be based on an empirical qualitative research on two Italian female brass bands, emerging in quite different territorial and organizational contexts, but both contributing to challenge those gender biases, prescriptions and practices still hampering women’s full participation both to music worlds and social life in general.
IVIPRO: Narrating Italy through Videogames
Videogames can become the way to discover the world that surrounds us: this is the premise of the Italian Videogame Program project. IVIPRO is a national and cross-regional project, working closely with all local institutions. On one hand, we are mapping Italy from a videogame-oriented perspective, to identify locations and stories that are more suitable for virtual worlds; on the other hand, we entertain a continuous dialogue with software houses, local institutions and museums, in order to understand their needs and help them in discovering how to promote the Italian heritage inside videogames. The core of the project is the recently launched Places & Tales database, available in Early Access. A tool – based on four different categories: Locations, Themes, Characters and Objects – which can give developers inspiration for the narration of their video games, offering in-depth analysis of Italian places and stories. The article will focus on: an overview on the Italian videogame industry and cultural context; IVIPRO and its goals; an in-depth analysis of the database, plus some concrete examples of games set in Italy and of fascinating locations and stories.
When a company becomes a book. A glance at the phenomenon of corporate monographs in Italy
The paper investigates the phenomenon of company books, published by enterprises and other kind of organisations to narrate their corporate history and activities. Such publications, conceived according to several possible disciplinary standpoints, narrative approaches and expressive languages, represent a very singular literary and communicative tradition in the Italian context. A preliminary analysis aims at framing in brief the historical origins of the sector, its characteristics, development, and contemporary exploit. In such a review, a special attention is devoted to corporate monographs – company “history” or “anniversary” books – representing the primary and most refined genre within company literature. Then, an overview is proposed about specialist libraries and documentary centres dedicated to corporate books in Italy, with a special focus on the “BiblHuB” project, promoted since 2018 by the Sapienza University of Rome.
Culture and Wellbeing
People’s happiness and wellbeing are undoubtedly at the center of today’s modern life – we could even dare to say that our generation is obsessed with the pursuit of happiness, with finding the perfect balance between our inner desires and the lives that we actually live. Nevertheless, we know very little about what truly makes a human being happy. We read tons of self-help books, we go to courses, and we talk to counselors. But the truth is – we very rarely dig deeper into the scientific causes behind human happiness and wellbeing. We may even be surprised to know that, in fact, there are very solid scientific causes. And among those causes, culture lists as one of the main ones. In order to better understand this, we need first to define what we mean by wellbeing and by culture. What is scientifically defined as psychological wellbeing – and more commonly referred as happiness – is a very complex, subjective feeling, made up by a series of multiple interactions and by a long list of factors: first of all, our physical and mental health, along our age, our yearly income, our profession, our education, the lifestyle that we have, our family life and many others. If we want to make sure that communities and populations thrive, we first need to make sure that the general level of wellbeing is high. To do so, we first need to understand how much every single factor named above contributes to the general wellbeing of individuals. To name a few, we can easily understand how lifestyle is one of the main contributors to psychological wellbeing, since unhealthy lifestyles can deeply influence the quality of our lives and therefore will influence our physical and mental health. Family life is also very important: we bring our own lives into our families, and when even one individual within a household is affected by stress, this can easily be transferred to other family members. We can’t obviously forget about the social sphere – this is where everything converges. We can have happy populations or unhappy populations, with real waves of wellbeing affecting a specific population in a specific time. And what about culture?
Sociology of dissent: American Beatniks and pre-sixty-eight Europe
In the Fifties of the XX century, American provincial and urban roads were occupied by “groups of vagrants”, who theorized an unusual “on the road” culture with their own ethics and their own “way of life”. The assault on culture was the characteristic of this group of “beatnik”[1] poets, artists and literary men, which, retrospectively analysed, becomes an archetypal condition of XX century avant-garde. Historically the beat movement has been considered the first outcry phenomenon prior to an increasing movement of teenager opposition, holding the key points of what will prove to be a radical breakup of an all-embracing and absolutist system. Its rebellion came out of a widespread feeling of clear, visible refuse towards the dominant power, so that the beat alienation from the “system” was to be understood as a real revolutionary process rooted in the Self and directed to the liberation from any oppressive power. Sympathetic towards the present, narrated as it presented itself to their own eyes, the various “Kerouac, Ginsberg and Burroughs – Goffman wrote- avoided the direct participation to some of their hipster friends ‘desperate excesses, preferring to observe and express solidarity.” They could understand and identify themselves with Bill Cannastra, who danced on the broken glass and on the mouldings, who once lost his challenge with the death while climbing the window of a New York subway car. They offered comfort and shelter to Herbert Huncke, a heavy drug addict who used to get money pilfering in Time Square. An extraordinary performance, a kaleidoscope of images and sounds from the underground, through which the beat wanted to give a violent shock to the romantic views of civil society, to the routine and usual ways of observing and analysing the real world, the one represented indeed by “Cannastra’s death, drug addicts and street thugs who passed by the windows of a diner in Time Square, where they spent…their time with Huncke”. These desperate lives represented to the beat writer the evidence that “we were detached from the official perspective of history and reality”. An unconventional socio-political context mixed with an idyllic, raw and releasing language, used to eviscerate the American low-lives: it is here, among run-down premises and dump houses, that they were involved in the lives of dropout hipsters, developing a literary identity marked by independence and experimental research. Without any directional structure and without any organization to embrace the whole movement, the key aspects of the beat generation, besides the change and subversion of linguistic models, were the absence of a fixed commitment, the non-violence, and the absolute freedom, which prevented the emergence of any centralized and hierarchical structure. In fact, as Holstein writes, we- the beat- “before the links of a society characterized by any structure, recognized the tribal links proper of a primitive communitarian feeling, directed to mutual help, hospitality, refuse of property, friendship and solidarity facing the world outside.”
Culture Change: A neuroscientific Analysis
The art and health nexus has always existed, from art as a representation of healthy and sick body to art as a therapeutic tool, to accommodate an ecological conception of human-environment dynamics and becoming “context” in hospitals and healthcare facilities. In recent decades it has received more attention and art began to be the action of changes which follows the state of health, as it has been defined by the WHO (World Health Organization): not merely the absence of disease and infirmity, but a state of physical, mental and social wellbeing. The growing awareness of the social dimension of experiencing art and participation in culture, generated artistic proposals in illegitimacy areas and they became vehicles for the interpretation and transformation of the human and social reality. Interactions thus generated have opened different paths and contexts of meaning capable of building a new paradigm of reality’s knowledge. Artistic and scientific exploration have contributed to emergence of a culture of health that attempts to overcome the diversification and geographic, demographic and social stratifications of wealth. The Culture conceived in this way is a guide of public and private decision-making process, in which everyone has the opportunity to make choices towards healthier lifestyles. This metaphorical reorientation of the categories of thought and ideologies has placed art and culture as a point of interest, in an international context, of different systems: economic, political, educational, technological. In the Italian, cultural system seems to have fully transposed this paradigm shift, becoming an active subject. In a world in which the arts are increasingly forced to justify their shrinking funding, against public accusations of elitism, it is comforting to take note of insights and planning actions that museums and various cultural institutions are producing as a coherent response of “civilization” to an attentive reading of needs.
Big Exhibitions 2010-2014: Institutions, Themes, Circulation. A Global Overview and the Case of Italy
Exhibitions are a central component of the contemporary art system, as one of the favourite tools for cultural distribution, attraction of public and visibility of cultural organisations. Important instruments for the communication of scientific results and new cultural views, they have become an irreplaceable element for institutions like museums, which have strengthened the practice of exhibitions to promote and enhance their cultural offer. At the same time, in the continuous quantitative and commercial development of the art system, museums have begun to resort to exhibitions in order to attract a larger public, and exhibitions have been affected by marketing techniques. The growth of “blockbuster” exhibitions – popular and often low-quality events – is consistent with the measurement of cultural success in terms of “figures”. The most visited exhibitions, as well as the most visited museums, represent cases of brilliant success that involve in a challenge old and developing cultural contexts, giving the possibility, to institutions and entire cities, of national and international prominence. Since exhibitions have become an increasingly important element of the cultural industry, in several cases a growth in the number of these events has been observed. If the escalation of the art festivals and Biennials is a worldwide phenomenon, in Italy the amount of the exhibitions has exponentially increased in the last ten years, producing a trend –observed in France and Germany as well – that has been defined as a real “mania of exhibitions” .
Arts and strategic communication in Italy and Spain: from sponsorship to corporate responsibility
The paper investigates the rise of business communication strategies based on culture and arts in Italy and Spain. As previous researches demonstrate, cultural communication can work as a strategic asset to develop corporate identity and reputation, enabling organizations to cultivate quality long-term quality relationships with their stakeholders. From this scenario and considering the lack of a systematic European comparison, the study presents preliminary data from a comparative research on the evolution of cultural communication models (patronage, sponsorship, partnership, investment), in order to evaluate similarities and original features of the phenomenon in the two countries by means of an explorative and multi-case study approach. Communication management in organizations and private companies stands as a strategic asset and is not immune to a changing context. While the investments tend today to concentrate on digital and social media strategies (Zerfass et al., 2015), there are other trends emerging in some countries and sectors. One of these is the phenomenon of business communication strategies based on and arts, which some scholars define “corporate cultural communication” (Martino, 2010) or “corporate cultural responsibility” (Azzarita et al., 2010): such approaches see a company including artistic activities, programs, or policies in its own strategic communication policies in order to develop corporate identity and reputation.
Playing the Networking Game: Why You Should Know That Artist Residencies Matter
Aspiring professional artists must undergo a tough struggle for the world to recognize them as such. Artists are increasingly required to follow qualifying academic and working career paths and are pushed to prove the originality and the necessity of their work, while demonstrating its consistency and feasibility. Also, not only resources are scarce, i.e. the dimension of the market is still restricted, adequate spaces for exhibition and productions are few and pricey, art production itself is very expensive – but also a great number of artworks saturates the art market. Despite being little known, sometimes entirely mysterious, to the non–?specialized public, artist residencies play an essential role in the artistic and professional development of artists today. As institutions, they are deeply entangled in a network of formal and informal relationships which build up what is called the art world. The benefits residencies generate by taking advantage of such networks have a great impact on artists’ career and is an important reason to know why they matter in the art system.
Cultural intelligence and internationalization: An approach to cultural and creative organizations
Cultural intelligence is defined as “a person’s capability for successful adaptation to new cultural settings, including cognitive, motivational and behavioral aspects”. This paper investigates how the adaptation processes recognized and studied in individuals can be applied to cultural and creative organizations. The aim is to discover which aspects of cultural intelligence are really relevant through detailed case studies of processes and their results. Two illustrative cases were chosen: the role of creative cities and the new music industry.
Participation and cultural industries: drawing a way through collective and collaborative creation
Much has been said about co-creation and participation in cultural projects, but it seems that cultural industry is facing challenges trying to balance social impact and profitability. Participation offers powerful tools to foment development and to weaken individualism in the contemporary society, but many of the so-called participatory cultural projects limit themselves to a certain type of functionality – very similar to marketing campaigns of big corporations – and end up struggling when it comes to develop a community sense or to promote innovation.
The discovery of arts and culture as global communication media. High-visibility experiences in the Italian and international scenario
If the powerful symbolic language related to artistic heritage can be considered the most brilliant intuition by first patrons and sponsors, during the last years the Italian scenario shows a real rush toward high-visibility cultural projects by global corporations, associating their own brands to the major monuments and artistic cities. By means of an explorative approach, the paper points to discuss trends and experiences emerging in the sector, as they highlight new risks but also strategic opportunities for both companies and the territory.
Staging the change?
The change required a different storytelling; the past order was being irreversibly abandoned, the new world seemed to grant a diffused welfare, if not happiness. Only creative artists could understand that such a change implied extremely high costs: the loss of identity, and the substitution of style and details with aggressiveness and merely material outcomes.
Literature and Art: narrative paths for social-emotional education
Finally in Italy we are talking about social-emotional learning; #1oradamore is the name of the media campaign promoted by Italian journalists, artists, psychologists, researchers, and sociologists to promote the introduction of social-emotional education in Italian schools. To share feelings and take care of emotional life is an essential cultural action, especially during adolescence when social behaviours begin to take shape and approaches to and dynamics of relationships strengthen.
How to deal with an increasing western-focused world?
The present world, dominated by high-speed information, easy access to knowledge and powerful cross-fertilisation of cultures, could on one hand ideally favour social and cultural integration by putting in contact different cultures, but on the other hand the shared feeling is that we are experiencing an increasing cultural globalisation, a sort of cultural holigopoly (held by the so-called western world) imposing its rules upon other cultures.
Contemporary art fairs as new forms of cultural consumption and urban experience
Contemporary art fairs are commercial exhibitions where art dealers meet up over the course of several days at a specific event. Nowadays they are held around the world, offering attendees the opportunity to experience in just a few days what otherwise would only be possible by travelling all over the world. This study has selected some key aspects of the contemporary art fairs expansion, focusing on their historical background and on contemporary globalization aspects of the art system. While exploring the art fairs territory, the contemporary art system often finds common grounds with attitudes observed in more-encompassing cultural and creative industries. Art fairs, as many other cultural industry events, such as music and cinema festivals or fashion weeks, share the “show – spectacle” notion in the public culture. Within this context, some analogies can be made as regards the common networking necessities of these industries, but it is also worth highlighting the emergence of art fairs effectiveness in enhancing the contemporary arts and the consumption of creative products.
How African cultural festivals are using innovative methods to attract new audiences, fund and host sustainable festivals
This paper will focus on trends within the management of African cultural festivals, particularly on aspects of attracting new audiences primarily through social media, new approaches to funding such as using crowd funding and original models of social and environmental sustainability such as the Maaya model for festivals and cultural events. This paper will use secondary research from credible sources such as the UNESCO 2013 Creative Report, African Festival Network (Afrifesnet) concept document, African Musical Festival Network and HIVOS.
Analyzing the Network of the Italian Cultural Institute of Copenhagen. Reactions to the Farnesina Reform and Promotion of the Sistema Italia
The Italian Cultural Institutes are not just pivotal elements of the Italian cultural diplomacy but also crucial tools to promote Italian culture and language. The Reform of the Ministry of Foreign Affairs (2010) determined a reorganization of both the internal structure of the Ministry and the international network of offices. In turn, the IICs were asked for the first time to promote abroad the whole Sistema Italia, rather than just Italian culture and language. This paper aims at analysing the network of the Italian Cultural Institute of Copenhagen to understand which were the real effects, if any, of the Reform on the Institute’s operations.
Development As A Network: A New Perspective To Evaluate Cultural Projects
The paper aims to show how and why network analysis turns to be a precious and complementary tool to evaluate cultural projects for local development. After reviewing the traditional project evaluation techniques, we first discuss how network analysis is able to map a series of aspects characterizing a cultural project and, especially, its sustainability. Second, we show the potentiality of this methodology by applying it to one of the 18 United Nations Joint Programmes in the area “Culture and Development”, implemented in Bosnia and Herzegovina.
Exploring the emerging model of social enterprise capital markets
The ways through which a social enterprise gets funding have undergone major changes in recent years. An innovative entrepreneurship vision, based on issues which are different from the traditional return on capital principle, has been brought to light asking for logical criteria not diffused in the current financial systems. In the traditional model of social enterprises, the spread of Social Venture Capital’s practices represents a breaking point. This article analyzes the theoretical and practical criteria of the Italian fund “Oltre Venture”. Such a fund combines capital, skills and entrepreneurial innovation in order to achieve more efficient and effective results, by using Venture Philanthropy principles.
Il fenomeno delle start-up nel settore culturale
In tempi recenti, politici, intellettuali, accademici e altri importanti attori della società civile hanno cominciato a riconoscere che la cultura può essere uno dei fattori trainanti per la ripresa economica e sociale del nostro paese. Durante il 2013 il governo italiano ha iniziato a prestare maggiore attenzione alle questioni legate alle start-up attraverso l’emanazione di diversi provvedimenti normativi con lo scopo di offrire una regolamentazione al fenomeno e di porre le basi per il suo sviluppo, attraverso incentivi per la creazione di nuove realtà imprenditoriali. Nonostante gli sforzi del governo, ancora non esiste una ricerca volta a comprendere gli elementi critici delle piccole realtà imprenditoriali che si occupano di cultura e creatività.
Cultural hubs as powerful leverage of economic growth: Sydney and Philadelphia case studies
The creativity industry has become more and more important not only for workers of the cultural sector, but also for governments and local authorities. In fact, cultural policy means economical policy. The article supports the thesis that culture is a real development engine generating an economic impact, showing data of two international case histories: Sydney Opera House and the group of arts and culture organizations of the city of Philadelphia. Thus, the article highlights the growing important role played by the web, social media and digital communications strategies to reach wider audiences all over the world and to make the two cities “cultural brands”.
Social Innovation and the Arts. Artists alone are not enough!
While social innovation begins to be broadly embraced by policy-makers and scholars in the context of healthcare and education, hardly any research has been done in the fields of the arts and culture (Mulgan et al., 2007). This paper aims at exploring what social innovation means, how to foster this type of innovation and the possible links between social innovation and the arts. The authors will address those issues via the case study of the Waag Society – Institute for art, science and technology in Amsterdam, The Netherlands.
Quale musica per quali giovani?
Se ci capitasse di chiedere a un ragazzo italiano quale musica ascolta, la risposta molto probabilmente ricadrebbe su generi quali pop, rock, rap, hip-hop, ecc. e molto difficilmente ci verrebbe risposto “ascolto la musica classica”. Che l’ascolto della musica sia una delle attività più svolte dai ragazzi durante il tempo libero è un punto su cui concordano studi sia in ambito sociologico che musicale. Ma quale genere ascoltano e perché?
Arte e infanzia. L’importanza dell’arte nello sviluppo del bambino
Arte e creatività svolgono un ruolo fondamentale nell’ambito dell’evoluzione infantile, tuttavia, per molti versi, entrambe sembrano essere oggetto di scarso interesse da parte delle istituzioni. All’interno dei programmi educativi scolastici, le discipline artistiche appaiono infatti collocate in secondo piano rispetto alle altre e innegabilmente si continua a difendere la presunta preminenza dell’area cerebrale sinistra – quella del raziocinio – rispetto a quella destra – epicentro emozionale e creativo.
Open culture, il rapporto possibile tra cultura e comunità
La partecipazione, già sfruttata dalla comunicazione e dal marketing, soprattutto attraverso il web 2.0, ora diventa la chiave per un deciso cambiamento sociale e culturale.
Artisti interpreti del territorio e della comunità
La professione dell’artista/creatore/produttore in questa nuova situazione assume contorni più flessibili e trasversali trovandosi al centro di relazioni sociali e istituzionali rispetto all’ormai lontana e superata visione dell’artista autonomo e indipendente.
Idee culturali e nuove forme di partecipazione
Il caso Venetian Industries Festival diventa una possibile risposta a quei bisogni culturali espressi e latenti che si identificano difficilmente nell’offerta culturale prevalente nel territorio veneto.
Un laboratorio collettivo per il nuovo design
Oggi sono molti i giovani designer italiani che tentano di fare parte attiva della pratica progettuale tentando di esprimere la propria creatività e competenza in un contesto progettuale ostico, non particolarmente attento e consapevole delle loro necessità.
La cultura dei bambini
Tra i pilastri dell’economia della cultura vi sono le teorie dell’addiction e dell’exposure: la cultura, come una droga, crea dipendenza, assuefazione e, più se ne consuma, più se ne consumerebbe. Non solo, man mano che cresce la quantità consumata, il gusto si affina e il fruitore, sempre più esperto, diventa anche produttore del proprio piacere culturale, una specie di prosumer antesignano di quello fabrisiano. Se tutto questo è vero, come sembrerebbe a livello empirico e come in ogni caso viene insegnato all’inizio di ogni corso universitario di economia dell’arte o della cultura, viene da chiedersi come mai ci si sia concentrati così poco sui consumi culturali dei bambini. Non, genericamente, dei giovani, non dei ragazzi, ma degli esseri umani da 0 a 6 anni, quelli in età prescolare.
Custodire, condividere, partecipare il futuro
L’Europa è un continente che invecchia rapidamente. In prospettiva, guardando verso il 2020, è possibile mettere in campo nuovi indirizzi e nuove idee per una migliore qualità della vita degli anziani e per un patto reale di solidarietà tra le generazioni, nell’interesse di tutti: queste sono le basi programmatiche dell’intervento che sarà sviluppato dall’Unione Europea. In quest’ottica il 2012 è l’anno dedicato alla diffusione della conoscenza di queste tematiche e allo sviluppo di un nuovo approccio culturale che dovrà orientare scelte e investimenti; proviamo ad approfondire per valutare la portata delle innovazioni che potremmo avere di fronte.
Developing a museum brand to enhance awareness and secure financial stability
Facing severe budget cuts, fierce competition, and being compelled to demonstrate their worth in terms of current policy to maintain ongoing funding, museums are now appraised by the experiences and benefits they generate as much as by the collections and exhibitions they display. Branding strategies, often seen in the for-profit sphere, are now also been undertaken by cutting-edge museums, recognising these as critical tools so as to enhance awareness, develop brand-customer relationships, and guarantee financial stability through continuous support and secondary revenue streams.
Passeggiate-racconto al museo, un approccio ludico all’arte
La mediazione culturale cerca di convincere i pubblici restii ad entrare nei musei d’arte a praticare tale tipo di attività. Negli ultimi sette-otto anni, il racconto è diventato una delle attività che riesce meglio di altre ad attirare i visitatori che frequentano raramente i musei, o a rinnovare il piacere di coloro che ci vengono regolarmente. Nessun segreto, la relazione tra racconto e arte è una storia d’amore antica come il mondo; le visite-spettacolo nei musei permettono di riascoltare le storie e riscoprire l’arte.
Arte migrante a Milano e Provincia: le reti come strumento d’integrazione e come sfida per rilanciare il sistema dell’arte contemporanea milanese
Questo articolo intende presentare la nuova realtà dell’arte migrante a Milano e Provincia, fenomeno manifestatosi a partire dagli anni Settanta del secolo scorso, per illustrarne problematiche e potenzialità. Dopo aver definito i concetti di “arte straniera” e “arte migrante”, verranno delineate le criticità dell’associazione La Casa delle Culture del Mondo, istituzione artistico-culturale fondata a Milano nel 2009, e del futuro progetto La Città delle Culture, mettendole a confronto con realtà europee virtuose quali la Werkstatt der Kulturen di Berlino. Saranno quindi esposte le motivazioni storiche, politiche, sociali e sociologiche che ostacolano l’inserimento degli artisti migranti nel sistema dell’arte contemporanea milanese; il tutto verrà supportato da testimonianze rilevate attraverso interviste qualitative realizzate con gli stessi artisti. Le reti, contrariamente al sistema istituzionale, verranno infine indicate sia come potenziale strumento di integrazione, sia come fattore per rilanciare la competitività internazionale dell’arte contemporanea milanese.
The evolution of cultural consumption and successful strategies for sustainable cultural management
The evolution of cultural consumption can generate important opportunities. A deeper understanding of the phenomenon can help public administrators, institutions and private organisations to create sustainable strategies for development. The paper describes the change occurring in the features of the cultural demand, trying to identify and to illustrate the implications of a new approach based upon the connection between cultural heritage management and creativity.
The Street Project. Per una nuova relazione tra museo, arte e pubblico
The Street è un laboratorio di arte pubblica durato tre anni, iniziato nel 2008 da Whitechapel Gallery, istituzione culturale non profit fondata nel 1901 nell’Est End, un’area di Londra a est della City. L’analisi del case history rappresentato da The Street ha fornito lo spunto per indagare le modalità adottate da Whitechapel Gallery per operare nello spazio pubblico, gli effetti di tali interventi sull’area coinvolta e le criticità a cui è andata incontro. Più in generale tale esperienza consente di riflettere sui termini di “arte pubblica” e “arte partecipativa”; sul rapporto tra museo e spazio esterno; ed infine sulle modalità di finanziamento adottate per questa tipologia di progetti, privi – per loro natura – di un pubblico predeterminabile e difficilmente quantificabile.
Patrimoni immateriali & design thinking. La “dote” di un designer nel progetto E.CH.I., Etnografie italo-svizzere per la valorizzazione del patrimonio immateriale dell’area transfrontaliera. Un’esperienza in corso
Il “Design Thinking”, in quanto processo sociale creativo che ruota intorno alla “costruzione” delle idee, si differenzia dal metodo lineare analitico che prevede l’esecuzione sequenziale delle fasi facendo spazio, al contrario, a fasi non lineari che possono avvenire simultaneamente o essere ripetute. Ma soprattutto dimostra la volontà di riconoscere la presenza di un “fare progettuale” diffuso. Nello specifico dei beni immateriali, tale “creatività diffusa” è prova spesso di una “intelligenza distribuita” fra le persone. E’ quanto emerge dall’analisi del progetto E.CH.I., Etnografie italo-svizzere per la valorizzazione del patrimonio immateriale dell’area transfrontaliera.
Partecipazione e programmazione sociale: i Tavoli Tematici nei Piani di Zona della Provincia di Torino
Il focus di questo contributo, che prende le mosse da una più ampia ricerca sui processi decisionali all’interno dei Piani di Zona (PdZ) nella Provincia di Torino, è costituito dalla dimensione partecipativa di politiche di programmazione sociale quali, appunto, i PdZ. Nello specifico, particolare attenzione è riservata al luogo privilegiato di sviluppo di una decisionalità a più voci: i Tavoli Tematici. Argomenti per indagare la portata partecipativa dei PdZ sono: il target dell’inclusione, gli strumenti comunicativi utilizzati, la questione della rappresentanza, le dinamiche conflittuali, l’analisi coalizionale.
Cittadellarte-Fondazione Pistoletto
“Era de maggio”, quando entrai per la prima volta a Cittadellarte-Fondazione Pistoletto. Da allora continuo a collaborare alle attività di questo grande laboratorio. È un generatore di energia creativa, che sviluppa processi di trasformazione responsabile nei diversi settori della società. Vi voglio raccontare dell’origine di questo luogo e del mio innamoramento. Se sarete abbastanza curiosi scoprirete anche perché un semplice gesto, come stendere un braccio davanti a sé, rappresenta a mio avviso l’energia vitale di Cittadellarte.
La cooperazione sociale si dà alla cultura. Il percorso del consorzio Con.Solida
L’articolo propone una rassegna dei principali risultati di un percorso di ricerca-azione promosso dal consorzio Con.Solida di Trento, volto a determinare il potenziale di sviluppo della propria rete di cooperative sociali in ambito culturale. A quali condizioni è possibile irrobustire un’offerta di servizi ancora embrionale da parte delle organizzazioni socie? E l’agenzia consortile quale ruolo può svolgere per sostenere e innovare questa offerta? Infine come individuare e coinvolgere in partnership strutturate attori dell’ambito culturale per acquisire competenze e per delineare un nuovo approccio alla produzione culturale? Le questioni affrontate, pur riferite ad un caso e ad un contesto specifico, sono apprendimenti utili per i diversi attori che individuano nell’ambito culturale un veicolo per migliorare l’efficacia degli interventi sociali.
La produzione di autenticità per il mercato. Un’esplorazione nel campo della popular music
Ormai da qualche tempo, le imprese tenterebbero in ogni modo di offrire prodotti che possano essere percepiti come autentici da parte dei consumatori. In effetti, sembra che sia soprattutto in questo modo che possano ottenere un certo successo di mercato. Ma sono effettivamente in grado di proporre qualcosa di autentico? Di fronte a questo interrogativo, il presente articolo si propone di esaminare alcuni aspetti chiave dell’offerta di autenticità e, analizzando in particolare l’evoluzione dei significati del concetto di autenticità nel contesto della popular music, cerca di individuare le modalità con cui gli operatori di tale settore starebbero cercando di offrirla al mercato.
Una televisione del teatro o una televisione sul teatro? Idee e riflessioni per istituire un canale tematico di servizio pubblico per lo spettacolo dal vivo
Il 27 marzo 2010 l’Italia ha celebrato, per la prima volta, la Giornata Mondiale del Teatro. Rallegra pensare che la manifestazione è stata lanciata dall’Unesco a Vienna nel 1961. Infatti, se a distanza di quasi cinquant’anni abbiamo deciso di aderire alla Festa del Teatro, allora possiamo ben sperare che un altro passo avanti nella rivalutazione dello spettacolo dal vivo è stato finalmente compiuto.
Movie design e brand experience
Le grandi marche hanno esplorato e sperimentato tutti gli aspetti della comunicazione, dall’advertising alle pubbliche relazioni, dagli eventi al guerrilla marketing. Solo poche però hanno saputo coniugare l’asset del business con il tema della sostenibilità, intesa come cultura etica ed estetica, del bello e utile. Gli esempi che abbiamo riportato sono collocabili nel perimetro di questa rinnovata ricerca della qualità, intesa come una priorità a cui guardare per rendere migliore il mondo in cui viviamo. Il pensiero strategico della marca è oggi al centro di molte riflessioni sul presente e sul futuro delle merci e dei mercati. Sappiamo che un prodotto diventa brand attraverso una serie complessa di azioni, alcune delle quali sviluppate nell’ambito del marketing, altre nella sfera della comunicazione. E sappiamo anche che l’azienda esprime una domanda di comunicazione sempre molto elevata, a fronte di cospicui investimenti, poiché è la comunicazione che permette quella percezione positiva della marca che sta alla base di un processo di acquisto consapevole.
Nuovi orientamenti museali e spazi educativi: l’ateliers des enfants come centro di cultura ludica e ponte culturale tra museo e pubblico
In questo articolo è stato riportato uno studio effettuato sugli Ateliers des enfants, realtà didattico-museali realizzate per ora soltanto in Francia, in Belgio, in Svizzera e Lussemburgo. Grazie ad un confronto a livello europeo e ad una scheda di valutazione, sono stati identificati aspetti significativi e caratteristiche tali da permettere la creazione di un Modello di Atelier, che pur mantenendo grande flessibilità, possa essere inserito in qualsiasi contesto museale, senza snaturare i principi ispiratori, le finalità, e gli obiettivi educativi.
Musei e disabili: il caso veneto
L’unico vero viaggio … sarebbe non andare verso nuovi paesaggi, ma avere altri occhi, vedere l’universo con gli occhi di un altro, di cento altri, vedere i cento universi che ciascuno vede, che ciascuno è. Così scrisse Marcel Proust in una delle sue opere. Nel corso degli anni sono stati scritti numerosi testi sui musei, le loro attività, i servizi, l’allestimento e altro ancora, ma ben poco è stato pubblicato invece in materia di disabilità in rapporto agli stessi. Porsi nell’ottica di vedere il mondo da una diversa prospettiva, significa mettersi in discussione e rivalutare, sotto altra lente, tutto ciò che ci circonda. Questo lavoro si propone di raccogliere alcuni dati e cercare di leggerli, lasciando trarre al lettore le proprie conclusioni, magari come spunto per future ricerche.
Impresa sociale e cultura
L’impresa sociale rappresenta un’importante innovazione nel settore no profit. In Italia la sua affermazione è fin qui legata a una specifica forma giuridica (la cooperativa sociale) e a un ben definito settore (i servizi di welfare). L’approvazione di una recente normativa che amplia le attività e i modelli giuridici apre però nuovi scenari, anche in ambito culturale. A partire dai principali apprendimenti che derivano da una rilettura storico-evolutiva della cooperazione sociale e dall’analisi delle dinamiche più recenti che caratterizzano le forme organizzative della cultura è possibile delineare il potenziale di sviluppo di questa inedita tipologia d’impresa, riconoscendola non solo come un fenomeno “di nicchia”, ma come una nuova forma istituzionale.
Quando l’arte produce effetti sull’ambiente
Il mondo anglosassone è stato il primo a riservare una grande attenzione al rapporto esistente tra l’arte e l’ambiente, ed in misura più precisa all’impatto ambientale provocato dall’arte e dagli eventi. Sebbene esso sia misconosciuto, merita una grande attenzione anche in termini di politiche. Sono di provenienza anglosassone anche gli standard per la salvaguardia ambientale elaborati esclusivamente per il settore.
Strutture narrative e metalinguaggi design-oriented per la fruizione del patrimonio culturale
Progettare la fruizione del patrimonio culturale attraverso un approccio design oriented significa trasferire processi d’innovazione nell’ambito culturale a partire dalle risorse locali e dalle specificità del luogo in oggetto. Il design per la valorizzazione dei beni culturali prevede un approccio sistemico che costituisce il valore aggiunto in grado di “dar forma” a specifici concept in termini di strategic design, communication design, interior/exhibit design, product design.
Il granting a favore degli eventi espositivi
Nel corso degli ultimi decenni, il mercato culturale ha visto la nascita di un nuovo prodotto: quello delle esposizioni temporanee. Dal punto di vista della produzione dei beni e dei servizi culturali è forse l’evento più interessante dopo la svolta commerciale dei musei. Anche in Italia negli ultimi anni la produzione di mostre è cresciuta in modo esponenziale, in ragione sia del ricco patrimonio culturale del nostro paese e della presenza di un numero eccezionale di strutture (oltre 4000 musei), sia, in misura diversa da realtà a realtà, della creatività, dell’esperienza e delle competenze scientifiche necessarie per realizzare progetti espositivi.
Il contesto museale e i suoi pubblici: una definizione integrata
The museum context and its audiences: an integrated definition
Abstract
The increase in the interest towards museums and cultural heritage is now more than a widespread feeling: even if the cultural consumption rates in our country have huge margins of development, it is very significant that in the last years ISTAT registers a substantial increase of those who have gone at least once to visit exhibitions and museums. Today, we face a competitive environment, changed profoundly and characterized by the reduction of public funds and by the enlargement of the entertainment offering.
The article analyses the development made in visitors’ studies and offers a focus on future development of this kind of research. In first paragraph, the author contextualize these studies within a framework; paragraph 2 illustrates the available toolboxes that museum practitioners and researchers could use to implement further analyses while paragraph 3 illustrates the main results of visitors’ studies researches. In paragraph 4, the article will introduce a management perspective and will define the evaluation politics that could help in managing museums. Finally, the article concludes with the enunciation of one of the most important future challenges for the future of the museum sector: non-visitors and first access to the museums.
Abstract
La crescita dell’interesse verso i musei e i beni culturali è oramai ben più che una sensazione diffusa: anche se i tassi di consumo culturale nel nostro Paese presentano ampi margini di crescita, è assai significativo che negli ultimi anni l’ISTAT registri un sostanziale incremento di coloro che si sono recati almeno una volta a visitare mostre e musei. Siamo oggi di fronte ad un contesto competitivo profondamente mutato, caratterizzato dalla diminuzione di fondi pubblici e dall’allargamento dell’offerta di intrattenimento.
Cultura per tutti, tutti per la cultura?
Culture for Everyone, all for Culture?
“The birth of Tafter Journal represents a good opportunity to propose an argument that I consider lively and constructive, and far from ideological positions, about the value and position of culture in our everyday life”.
The article analyses the main applications, in our daily lives, of wider cultural concepts, and highlights the principal characteristics of the cultural content, such as participation and accessibility, contents and messages, expressive and cognitive tools and by comparing creation and conservation politics that govern the Italian Country.
La nascita di questo giornale rappresenta una buona occasione per proporre un ragionamento che mi auguro vivace e costruttivo, ma lontano da posizioni ideologiche, sul valore e sul posizionamento della cultura nella nostra vita quotidiana, scandita da ritmi sempre più rapidi e allargata a confini pressoché illimitati dalla tecnologia e dalla globalizzazione.
