*(Dal New York Times al 2013, lezione futurista
agli zombi di wall street, milano borsa, il sole 24 ore...)
agli zombi di wall street, milano borsa, il sole 24 ore...)
Roma 19 10 2013
In un periodo di incertezze e tensioni economiche la via più sicura è quella che passa dalla storia, quella che tutti i grandi personaggi e le grandi menti del nostro Paese, nei secoli, hanno percorso.
Questa via si chiama Cultura.
Ma non una cultura accademica, chiusa nei musei, una cultura che parla e si integra con il territorio, una cultura che crei un circuito economico che in pochi passi si auto-alimenti e crei, di conseguenza, un circuito economico organizzato.
I punti fondamentali di questo nuovo modo di fare economia e cultura passa da pochi ma ben definiti step:
- considerare la cultura in ogni sua espressione, e in ogni sua forma dal punto di vista locale, nazionale, internazionale;
- cultura significa risorse economiche e per questo necessita di un vero e proprio piano strategico integrato che preveda obiettivi a breve, medio e lungo termine;
- nel XXI secolo cultura è sinonimo di contaminazione. Contaminazione tra diverse discipline artistiche ma anche tra luoghi e opere, tradizione, storia e innovazione, percorsi artistici e di marketing, con un occhio sempre volto alla comunicazione, al target, agli obiettivi;
- la valorizzazione della cultura locale e del territorio dovrà poi uscire dai propri confini per passare alla cassa di risonanza dell’estero, attraverso azioni culturali di più ampio respiro dalle quali attingere per manifestazioni successive.
La provvidenziale inestimabile risorsa della cultura si sta facendo largo presso numerose amministrazioni, soprattutto estere.
Un esempio?
Uno tra i più recenti: Marsiglia.
Marsiglia è stata nominata Capitale Europea della Cultura 2013: gli investimenti sono stimati in circa 680 milioni di euro, il budget della locale Camera di Commercio pari a 62 milioni di euro quasi esclusivamente investiti nel campo della cultura.
Le stime della ricaduta economica sono in rapporto 1 a 6 per ogni euro investito.
Marsiglia non è l’esempio più fulgido di ciò che alcune amministrazioni europee e non stanno facendo (vd Berlino, Londra, Istanbul), ma è uno dei casi che rende plausibile la via della cultura come motore preziosissimo per far decollare l’economia, il territorio, il turismo tutti i giorni dell’anno.
Storia, territorio, cultura (locale e nazionale), contaminazione, arte, idee, comunicazione e programmazione: questi gli ingredienti universali per la New Cultural Economy.
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As soon as it was clear that the 18th-century Baroque fountain had not been seriously damaged, intellectuals and art critics began reconsidering the gesture as something nearing genius.
“Once the indignation had died down, we rediscovered the Fountain of Trevi,” said Roberto D’Agostino, an Italian blogger. “It’s a resurrection of Andy Warhol, the act of highlighting an object of mass consumption.”
A box found near the fountain held leaflets signed “Ftm Futurist Action 2007,” a reference to Futurism, the early 20th-century art movement that advocated a violent break with the past. The fliers said that the act was, in part, a protest of the cost of the Rome Film Fest, which runs until Saturday, and that the color referred to the event’s red carpet.
It is a lackluster festival, said a media critic, Gianluca Nicoletti, “with no depth, no color.”
“The real splash was the one made at a fountain,” he said.
Calling the dyeing a “dramatic representation of the decline of the country,” Mr. Nicoletti said, “it was a marvelous event” that put Rome in the spotlight “at practically zero cost.”
Initial reactions were of outrage and concern, and underlined how exposedItaly’s precious monuments are. Over the years, vandals have damaged dozens of statues, including the Pietà by Michelangelo in the Vatican. A 1993 bombing aimed at the Uffizi Gallery in Florence that killed five was attributed to the Mafia.
Anita Ekberg, who took a swim in the fountain for Fellini’s 1960 classic, “La Dolce Vita,” fumed in newspapers that dyeing it was “an offense to Rome’s culture.”
Photographs by tourists and a video captured a man, baseball cap pulled low, flinging the dye and hurrying off. News reports have identified him as Graziano Cecchini, a 54-year-old artist.
In a telephone interview on Tuesday, he was asked if he was the man in the photographs. “Who knows?” he answered.
“If it had been me, wink wink, I’d say that this had been a media-savvy operation in the face of a very gray society,” he said.
He said he had taken refuge in an undisclosed location with the photographer Oliviero Toscani, known for his bold, iconoclastic work for Benetton clothing.
“We see the same thing,” he said, citing a comment by Mr. Toscani about the fountain’s new color in the newspaper Corriere della Sera, “Rome that’s still menstruating, Rome that has not entered menopause yet, can still have children, is still fertile.”
*CONVEGNO EREDITA E ATTUALITA' DEL FUTURISMO 4/2013, ROMA
«...9-10-2007: 1 10 100000 Fontane Rosse Futuriste. A partire dalla sola Azione Futurista della Fontana di Trevi a Roma, alla velocità del gigabyte - apparso quasi dal 1909 con la macchina del tempo- Graziano Cecchini detto poi RossoTrevi -genialoide mediatico- ha riportato il futurismo in prima pagina su tutti i media, cartacei e dell'etere: "un vandalo" fu definito all'indomani della celebre bella e persino ecologica ... (nessun prodotto nocivo!) performance della Fontana Rossa di Trevi, con i turisti finalmente sorpresi (taluni, bontà loro, pensavano a una originale creativa trovata di Veltroni), stupiti, ammirando finalmente l'immortale Fontana finalmente colorata, rivivificata, sottratta con il blitz futurista, per sempre, alla retorica della Dolce Vita e di Anita Eckberg.
E splendido, rivoluzionario, rivelatore uno dei clip di Cecchini su "You Tube": Bambini giocano, pochi secondi, giocano con la rossa fontana, videati in diretta, un virus fatale per tutti i media analfabeti! Poi... benpensanti e pennivendoli, politici in testa, ignari persino della differenza tra... coloranti innocui e vernice, si sono rimangiati tutto, anche l'ennesimo passatismo antifuturista. Cecchini (o "futurzig" o "futurpalla",inizialmente poi soltanto "RossoTrevi") futurista ha poi replicato con altre corrosive e giocose performance spettacolari; "le palline di Piazza di Spagna", le "modelle nude" a Firenze, nel caffè storico dei futuristi "Giubbe Rosse"- tutt'oggi attivo, acclamato e difeso finalmente da due delle menti più futuristiche d'Italia - Vittorio Sgarbi e quell'altro genio mediatico di Toscani..».....
*da Roby Guerra- Futurismo per la nuova umanità. Dopo Marinetti....(Armando editore, Roma, 2012).
NEW WORK TIMES INTERVISTA A GRAZIANO CECCHINI ROSSO TREVI
ROME, Oct. 23 — One day a vandal, the next an artist. That is the story of the baseball-capped culprit who dumped a bottle of dye into the famed Trevi Fountain here on Friday, turning the waters blood-red for a day.Enlarge This Image
Maurizio Brambatti/European Pressphoto Agency
Rome's Trevi Fountain was dyed red last Friday by a man who later said he was protesting the amount of money the city was spending on a film festival, complete with a red carpet.
Enlarge This Image
Massimo Percossi/European Pressphoto Agency
Graziano Cecchini, asked if he dyed the fountain, said, “Who knows?” but added, “If it had been me, wink wink ... ”
“Once the indignation had died down, we rediscovered the Fountain of Trevi,” said Roberto D’Agostino, an Italian blogger. “It’s a resurrection of Andy Warhol, the act of highlighting an object of mass consumption.”
A box found near the fountain held leaflets signed “Ftm Futurist Action 2007,” a reference to Futurism, the early 20th-century art movement that advocated a violent break with the past. The fliers said that the act was, in part, a protest of the cost of the Rome Film Fest, which runs until Saturday, and that the color referred to the event’s red carpet.
It is a lackluster festival, said a media critic, Gianluca Nicoletti, “with no depth, no color.”
“The real splash was the one made at a fountain,” he said.
Calling the dyeing a “dramatic representation of the decline of the country,” Mr. Nicoletti said, “it was a marvelous event” that put Rome in the spotlight “at practically zero cost.”
Initial reactions were of outrage and concern, and underlined how exposedItaly’s precious monuments are. Over the years, vandals have damaged dozens of statues, including the Pietà by Michelangelo in the Vatican. A 1993 bombing aimed at the Uffizi Gallery in Florence that killed five was attributed to the Mafia.
Anita Ekberg, who took a swim in the fountain for Fellini’s 1960 classic, “La Dolce Vita,” fumed in newspapers that dyeing it was “an offense to Rome’s culture.”
Photographs by tourists and a video captured a man, baseball cap pulled low, flinging the dye and hurrying off. News reports have identified him as Graziano Cecchini, a 54-year-old artist.
In a telephone interview on Tuesday, he was asked if he was the man in the photographs. “Who knows?” he answered.
“If it had been me, wink wink, I’d say that this had been a media-savvy operation in the face of a very gray society,” he said.
He said he had taken refuge in an undisclosed location with the photographer Oliviero Toscani, known for his bold, iconoclastic work for Benetton clothing.
“We see the same thing,” he said, citing a comment by Mr. Toscani about the fountain’s new color in the newspaper Corriere della Sera, “Rome that’s still menstruating, Rome that has not entered menopause yet, can still have children, is still fertile.”
*CONVEGNO EREDITA E ATTUALITA' DEL FUTURISMO 4/2013, ROMA
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