we eat with the culture we eat
I’d rather say it
we are Italy, we are the country
of culture par excellence we are the
country that has to reschedule in some
way the attitude towards the
Theaters museums
let’s call it a cultural industry
We call the cultural industry
structures that must in some way
reschedule revive review the prof
its relationship with the territory
with people and you start thinking about one
museum as a business
meanwhile we think that a museum is in fact
a structure that ethically must
thinking of people has a purpose
social as well as cultural
all people can access the
museum all people can be
welcomed by a museum many people must
to be able to find in a museum
many many answers then exist
obviously a strategy that I can in
some way to make it almost independent
cultural structures from the public
administrations
this is the challenge that is in this
now do not make it to the states
international level to support i
museums
we have almost 7 thousand in Italy
small medium and large
well they are new strategies that start
from the new functions new features
obviously linked to a new attitude
in addition to traditional functions
conservation exposure promotion now
the museum and the theater pose to the
like a private company have
reference targets outline the
people try to involve people and
they obviously have attitudes
slightly different than the previous one
there are the successes of course there are the
paths must be somehow
carry on and clear objectives
fundamental to know what we want
to propose to the territory to people
know how to involve people
I deal with marketing not
conventional it is about marketing
emotional and relational experiential
the museum becomes a platform
experiential the museum becomes a place
reception
how can we grow culturally but al
same time we can have fun
we can exchange and share
experiences we can meet people
we can really live one
experiential platform even
daily entering the market of
people’s free time this is
important because from the moment I succeed
to segment the public I recognize it
profile are five magic words
interesting from this point of view
I have to intercept public
I have to know what I have to segment, I saw
involved and I have loyalty
mechanisms that are very similar to a company
private but with a museum of any kind
gender
the permanent collection is no longer
enough to attract the exhibitions
very important temporary events are not enough
more
it takes a series of events one
series of products a series of routes
that can allow a structure
museum to give answers create need
to the desire of people to listen to them
and somehow follow them to where
it is obviously possible
and here are the services the services are not
as much as spaces dedicated to
regular visitors to the museum
the services are real structures
independent who talk with the
museum but at the same time have an appeal
independent a really strong one
attractive and here is the book shop in
shop didactic spaces do not become
secondary services or accessories but they are
truly the protagonists of one
structure managed to change perfect
because the museum is considered or must
be considered as a business
because obviously to competitors and not
the other museums are not others
exhibition facilities or theaters
the museum’s task is the structures
of the free time are the restaurants are
the pubs are the sports campuses are i
sports halls
all that is entertainment
people go to the museum in their free time
of the weekend probably in the
their daily life can not
stop a day
well the museum must hold in
considering these elements and al
time itself must tell must
to solicit must stimulate and must in
some way to involve the
involvement involves an attitude
more elastic, eclectic but at the same time
same a managerial attitude
gentlemen we talk about museum governance
theatrical governance we do not have to
scare
there is no randomness there is no miracle
of culture management
this is exact science science the
manager must know how to manage a structure
and managing it means being aware
and plan it over time with objectives a
short medium to long term
exactly like any company will have
this point with measurable objectives e
measured I can see if the
structure my box a car
it can always work in a relationship
with the territory
always in relation with the people who
they also live in the territory but obviously
I can not ignore tourism I can not
ignore similar structures
international are a business and like
such must bring home results is
says social moral and cultural
economic fundamental and watch
the economy does not go to affect ethics
to support a project is fundamental
first we talked about the internal product pil
gross
I would like to talk about the product pif
interior of happiness of culture ai
also pleasure
culture is also fun
and a museum where people have fun
and attended I can not stand people
that say
pity I have twelve appearances per month on
museum does not work sin is not
known the director must be changed the
modified static there is something wrong
it is the fault of those who manage there is no doubt
so a museum
if it’s bad, it’s not a bad case
management is a bad strategy
obviously the risks are huge
example the biggest risk is
refer only to specialists
to those working in scholars who work for
obviously not having a path
privileged but not the only one
therefore isolation island attitude
Territorial serious mistake big
museums that have 5 thousand people
at the opening and then 5 thousand people in the
four months following serious errors of
communication
but what is the most serious error, not
profile I can not communicate in a way
unilateral
I have to know exactly who to tell
something like telling it when
tell it and above all involvement
and participation
do not mess around I was lucky
make a lot of international experience of
learn a lot from unlikely countries
also Asian and Latin American
I learned so much in management
in the coordination in the involvement the
passion of the Latin Americans and the
management and fierce business oriented
of Asians
then we are truly the country most
more important can be said in a low voice
on an international level that holds a
important cultural weight is not 72
percent that is rumored is a bit
less but anyway we have the story
incredible well we exploit this
history and I assure you that culture a
Infinite propeller we played a
lucca with these experiments and the
challenge is going pretty well now
luca is as small as our museum cites
small at 1,600 meters of space but we are
succeeded, obviously, slowly
to achieve good results
meanwhile, the propositive propulsive structure
we have a restaurant inside
we divide modern art into
contemporary
we give space to young artists with
site specific installations and we are
open to all public palace
obviously historical the historical part does not
prevents contamination in the slightest
attila proactive and lucid between the past
and the present is very interesting
people are prepared are helped
they are not numbers to those in the reception
he smiles when he entered the offers
information accompanies and searches
really to meet the needs
of people
we are company the company must accommodate
the customer that must be respected goes
supported if possible should be helped
to understand helped to live
an emotional experience evaluated to
opening up often there is an injury
ferocious on the part of people not
enter into a museum of modern art and
contemporary because I have no culture
I do not know the codes certainly not me
like
this one percent bigger is the
biggest problem to deal with well
Facts help get involved spaces
free neutral open exhibit every
person can still benefit from fashion
just from three to 300 years
all people can access one
museum and find an answer is find
an excuse to get involved and
find the way to have fun
I use this word constantly
fun, well, I’ll come back in one
museum and I’m fine in this museum it is
mine too
a very interesting klein of north museums
Europeans enjoy your museum you’re fine in the
your museum is not mine the museum
five hundred sixteenth century frescoes
contaminated installation is not heresy
cultural and contamination and also a bit
play but at the same time and reflection
every person is truly brought in way
free to look for points of
reference external interiors
philosophical cerebral
everything is possible and everyone is right
because everyone finds his own way
now the codes of technology codes
4.0 video art video photography
installations now technology enters
strong in the museum comes strong of the
creativity the markets then the museum e
own market
among the reference markets , the public
administration
private companies and the public
generic generic public bandage
must be involved in so many ways in
personalized tailor made way but also
companies
the bonus app alone is not enough
small figure so the company arrives at
that figure and often hears the sponsor
sponsorship is over
no one is ours anymore either
dearer friends who can afford
today to lavish sums of money
today the tents are lost
they are protagonists are partners of a
museum
companies do not give money to them
invest and companies want something
in return and in return they have not only
image but contacts with public of
reference have match the museum
select public because it has profiled
public among companies
we have at least two brands every year
that help us but we help them and
there is not to be ashamed there is not
contamination does not affect laura
important of culture absolutely
we enhance it and move on
this way
tell stories we can involve
many people through the story
telling an important exhibition can be
transformed into a theatrical opera year
we send to contaminate let’s go to
to involve is a great a great one
expenditure of physical emotional energies but
a way to call people to the museum
that otherwise they would never enter who
does not come to the museum certainly accept
the traces
this is clear then invite to dinner
people tell a story look up
a link with the works to look for
a reference with the artist to look for a
inner reference through a
gastronomic path that winks
very strong to the essence of the exhibition of
a certain moment and then debates
comparisons of conferences that then also
even music concerts the bike can be
even unconventional some spaces
they can be contaminated by others
artistic expressions
now there is no longer a single language
now all things are linked there
we come to look for answers
where there are questions the questions are asked
they obviously do the public of
reference and are all potential
reference audience and then we go to
to understand the genesis of art la
genesis of creation let us live
the moment to people this is other
important thing or to share the
creative moment means not
understand exactly and
scientifically the meaning of
a work but share it live it
participate of course the nursery i
children an incredible crazy resource
the child critic of natural art does not
has no transparent filters in the
prejudice the child throws himself full
heart in modern and contemporary art
and live it maybe we had
the attitude as children obviously
we invest a lot as a museum on
children
even when children are 10 years old
what does a child mean when he is 0?
zero what means 0 years
if it is not yet born and therefore not
we also work for the workers
expectant mothers
through obviously pedagogists
specialize in this and it seems and here
but he will have to present the mothers who are there
be some answer with one
mono-subject acoustic stress though
here we go in a dimension where I
I can not deepen the numbers nine
years of life great small events
events many side events
many interdisciplinary proposals
all for 350,000 visitors
ten thousand children the dream becomes
reality
if heart mind courage resourcefulness
identity come together if there
we believe without a doubt we can
do
I thank
[Music]
”
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