Culture and recovery – the taxpayers’ daily newspaper

The museums, the live show, post Covid, Pnrr. Marco Causi’s study
Marianna Rizzini

Rome. Italy and its artistic and cultural heritage are always presented as an inseparable whole, almost as synonyms. But the two years of the pandemic have severely tested sectors that the post-2008 economic crisis had already claimed many victims. There was not much talk about it, or not always in an organic way, before the two shutdowns made the problems clear and urgent. On the other hand, the many subdued virtues of those who from one day to the next found themselves having to reinvent a profession have also come to light. And today, as we look back on the first two decades of the 2000s and beyond, at the prospects for improvement, Marco Causi, Professor of Political Economy at the University of Roma Tre and former Deputy Mayor, analyzes in the essay “Economia della cultura” ( Pigreco editions) the potential, vices and strengths of the sector, especially in the field of museums, by analyzing the examples of successful management and comparing them with foreign cases. As for the live show, which has been hit hard by the closures in times of Covid, Causi goes back on the path that, for example, has made the theater relaunch itself despite the dramatic loss of audience, focusing on what can done. Wait. from the National Recovery and Resilience Plan. Meanwhile, some Italian museums stand out on the European stage, such as the Civic Museums of Venice, which was first ranked in Italy among the most virtuous, thanks to the management model (we will talk about it in Rome, June 15, at Maxxi, during the presentation of the volume, focusing on the study that Causi has also conducted in public cultural sites, in the presence of politicians, museum directors and teachers). Meanwhile, from the comparative analysis with foreign countries, Italy, with France, subsequently wins the medal as the leader in Europe in turnout: between 2006 and 2019, both countries actually recorded an increase in admissions of 2.2-2.3 percent on average each year . And this is where the question of financial autonomy arises: the success has actually kissed some state museums with a kind of special statute, museums that have reached a level of expertise from this point of view. First, however, according to the degree of economic autonomy, according to the data in the 2019 accounts, there are the aforementioned Civic Museums of Venice (not state-owned), which hold 99 percent of their own income. Also well located are the Egyptian Museum in Turin and the Colosseum (with 88 percent), the Accademia Gallery of Florence (81 percent), the Uffizi (67 percent), the Savoy Residence in Turin (66 percent) one hundred), Pompeii (65 percent) and Borghese Gallery (59 percent). Among state museums, not all can be defined as autonomous (most of the institutes have a “percentage” of autonomy of less than 35 percent, with the Archaeological Park of the Phlegraean Fields at 6 percent and the Capodimonte Museum at 3 percent). But if the data on museums at all is reassuring, there is still a lot to do in other parts of the artistic-cultural world. “The cultural sector, together with tourism, public institutions and transport, was one of the hardest hit by the pandemic,” says Causi: “It was especially the vibrant cultural activities that suffered where the new health safety rules will put pressure on. need to understand if and when consumer demand will return to pre-pandemic levels, and with what changes. ”Meanwhile, there is a theme of cost, in some cases atavistic:“ the cost disease, ”the professor writes, can be addressed through new technologies, innovation of formats and events (see festivals, increasingly popular, an element that has positive consequences for the territory). cultural sites, restoration of historic villages, protection and improvement of architecture and landscapes: are we out of danger? rates, diversified between north and south, with percentages in any case low compared to European averages, need to face, writes Causi.

Source: the sheet

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