With the Italian Ministry of Cultural Heritage marking the 40th year since its inception and the inauguration of its then first minister Giovanni Spadolini, the 13th Annual Conference of the Aspen Junior Fellows seized the opportunity afforded by the occasion to take stock of the current state of the cultural sector in Italy, focusing particularly on the balance to be struck between the preservation of artistic heritage and its exploitation to best advantage from an economic and social standpoint, as well as to articulate a vision for the sector’s future.
The discussion was divided into three parts, the first of which concerned the necessity of taking a systemic approach to promoting cultural heritage, so as to reconcile the value of national-level coordination with local needs. Particular attention was paid – with comparisons drawn between experiences in other countries and Italian best practice – to the lack of certain tangible and intangible infrastructure essential to fully tapping the tourism potential offered by the country’s artistic and cultural heritage. In this regard, it was noted that the continued appeal of this heritage hinges on the propagation of the culture in which it is so firmly steeped. It was thus seen as crucial to understand the opportunities offered by digital technologies – to know, for instance, how to stimulate interest in museums in the age of the digital generation.
The second strand of the conversation related to how go about developing the country’s cultural offerings, with a particular focus on what models the new breed of specialists and managers setting their stakes on culture should adhere to. In this respect, it was suggested that according public-private partnerships a more prominent role and being open to international comparison are key. Questions were also raised as to how – and with what resources – to ensure the quality of investment, taking into account the demands of the conservation and amelioration of cultural assets. Among the more innovative proposals floated was that of tapping into the opportunities presented by – as well as addressing the needs of – private owners of works of artistic and historical significance, with a commitment to promoting tax incentives and models apt to bring to fruition the “wall-less museum” which the country’s unique history has wrought of Italy.
The third part of the Conference discussion saw the participants share successes and failures in the management and promotion of Italy’s cultural heritage. This balanced exchange, stripped of the usual self-absorption and excessive critique that tend to characterize debate on this subject, was aimed at pooling together individual experiences, so that by connecting the dots between them a wealth of ideas might be unleashed that could serve as a useful resource for designing strategies and objectives.
Lastly, the Conference also provided an opportunity to look beyond the economic and technical facets of the preservation and amelioration of the country’s cultural heritage, and to imagine that the notion and practice of beauty – at the very core of Italy’s DNA – might travel well beyond its borders to reach new generations, once again engendering what over the centuries these cornerstones have already produced or prompted, namely: a greater focus on the intangible aspects of existence, and a reflection on life and the images, works and values that make it worthwhile.