“Culture and art: Carrara lacked planning, continuity and dialogue”

CARRARA – The paper newspapers’ crisis is now a fact that the news itself knows, but there are some who have managed, based on an online project, to publish a paper magazine. Among the architects behind this communication miracle, which shows that online and print are destined for a synergistic coexistence, is Federico Giannini, founder along with Ilaria Baratta, of Finestre sull’Arte. “In 2009 we started with the digital dissemination project, which then in 2017 became an in-depth publication and on agreements dedicated to art and culture, while the printed edition in 2019 also came with a quarterly product with different content, collector’s item, where we publish articles without deadline , which even after many years can be read and at the same time retain the same attractiveness, ”explains the Apuan art journalist Federico Giannini, author of some documentaries that are broadcast on TV channels.

“Finestre sull’Arte is a national product -” says Giannini, who agrees to talk to The Apuan voice to talk about art and culture in Carrara – why I tend to travel a lot throughout Italy (for example, I just got home from Venice), but I feel very attached to my city. I really like Carrara ».

What has been lacking from an artistic and cultural point of view, if anything, has been lacking in Carrara in these five years?

“Three things were missing in my opinion: The first is programming. There was a clear line missing: There were also interesting exhibitions, but we did not see a well-defined strategy. Among the positive examples I mention the exhibition about Cybei, while among the negative exhibition about Marmifera in Carmi, completely out of line with the soul of the museum that hosted it, and the virtual exhibition on Canova in Carmi, a side show. There was also a lack of dialogue between the various institutional subjects. On the contrary: I would like a fixed table to bring together the various disciplines, public and private, which in various capacities deal with art in the city, from the Art Academy to the Conti Foundation, from the Marble Foundation in Vôtre, to the CRC Foundation. The third element was the lack of continuity in the administration’s action ».

In your opinion, can the addition of museums that you plan to do with the restoration of Palazzo Pisani help the city’s cultural offerings grow?

“In Carrara we have three bourgeois museums: Carmi, the Marble Museum and the Museum of Contemporary Art, although this is still closed and it is not clear when it will reopen. These museums registered in 2019 about 16 thousand visitors: an average of 5 thousand per museum, these are low numbers for a city like Carrara. Before you think about opening new museums, work on what you have. We’re moving on to explore the three museums: Carmi is a collection of objects, which after three years still does not have a clear identity and mission, it has hosted exhibitions that did not concern Michelangelo, it is a museum that is mostly used as a container.The marble museum is a little appreciated jewel and I also see a good potential for the Museum of Contemporary Art (however, I do not know the project for the new museum, so I prefer to postpone the judgment on this aspect.) I do not know how useful it can be to open a new museum in this context. become a copy of M the Armor Museum: I think it’s better to create an exhibition center suitable for large exhibitions, following the example of Palazzo Cucchiari, which hosts very interesting exhibitions every year. In addition, Palazzo Pisani could be enriched by dedicating a plan to initiatives for the city, I am thinking, for example, of the workshops that were activated at the Saffi school several years ago. However, I’m pretty sure we do not have to make a museum where we can collect “an ample amount of documents, as if to scan a junk merchant’s booth,” to quote the mayor. For the second-hand stalls, there are special markets and flea markets. Carrara needs less collected and more thoughtful projects ».

Is there a risk that the Marble Museum will be deprived of its contents?

“It seems to me that this is a risk that has been definitively set aside, now it is no longer a question of moving the museum, but of creating a new one. Therefore, the risk of something is creating a duplicate: There are few cities that have two museums dedicated in such a powerful way and with such connotations to the territory. After all, the Marble Museum has been there since 1982, inside a building that was formerly: it was built between 1962 and 1965 to host the national marble exhibition: It is therefore true that the Marble Museum stays where it is. If anything, make it known. “

What do you think of the exhibition “1972. Michelucci, Moore and Michelangelo “?

“I recently visited it, so I want to limit myself to a few warm impressions. It is a decidedly niche exhibition, which tells a little-known episode in the history of our city, the story of the never-built memorial to Michelangelo, designed by Giovanni Michelucci, who had also foreseen the involvement of Henry Moore. It is a good documentary exhibition, which I imagine is most aimed at a local audience. The section on Michelucci is good (especially the drawings alone are worth a visit), the one on Moore is much poorer. The part dedicated to Michelangelo’s fortune on the top floor, on the other hand, is completely independent of what the public can admire in the first sections of the ground floor, but it’s a more than valid pretext to see, beyond the first acquisitions for the permanent collection of the museum, some very interesting works, above all an extraordinary unpublished charity by Bernardino Mei, also worth a visit to Carmi ».

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