The new challenge for museums and theaters: making them popular and connected

What if we offered parts of our squares, as well as restaurants, also to culture, placing it as a strategic engine for the rebirth of our urban centers? If, before being able to visit exhibitions or close us in a concert hall with the first numbers, time will pass, in the meantime, museums and institutions must keep alive the relationship with their audience and indeed must conquer a new, wider, local and Italian one that, in the aftermath of the pandemic he discovered a voracious consumer of digital pills given by many institutions.

The objective of museums and institutions should therefore not be limited to putting field protection structures for distance and hygiene systems, but to open up to design a completely new schedule of times, routes and methods. As contemporary storytellers in the fabric of the city, museums must therefore bring out the richness of their contents. A sort of “urban guerrilla”, made up of widespread micro-interventions, performances, small installations, narratives that reveal the charm of the treasures kept. In this sense, museums, small or large, could immediately become places of reference in their surroundings, leveraging on the selection of specific individual contents to be narrated. The echo of these activities will then nourish the relationship with the international public, and will increase expectations for when it can return.

We live in one of the countries with the highest artistic and architectural “beauty” rates, we do not let the rules alone draw the barriers between us, in the name of safety and fear , as has been done several times since the terrorist attacks. We do not break that unique balance of beauty and harmony that reigns in our inhabited fabrics for which the whole world admires us. The world of design, architects, designers, must be involved to transform these critical issues into opportunities. The psychology of fear is won by trust.

Our cultural institutions, museums and cities must field a new hospitality, a new communicative, emotional and physical involvement. The inhabitant, the visitor, is now at the center. We must find an economically sustainable model for these months to keep our culture alive. From the free digital offer of virtual experiences we have to switch to the real offer of cultural experiences at different levels. We bring out the value of our neighborhoods as the identity of what they have or can offer. We put the parts online, buy tickets for an exhibition that offers us a coffee at the nearby bar, which takes us to the shop opposite to see the new products, or to the bookshop in the corner to listen to a reading. We put in place a new hospitality: the voids and distances must be loaded with content; waiting to become a crescendo of connections and knowledge; you cannot wait outside a museum as if outside a supermarket, the routes must be multiple and diversified, designed in stages in succession where the intermediate pieces of micro exhibitions will prepare you for the sight of the central works; the visit must begin already outside.

Time, in all its aspects in all its forms, in summary will have to be redesigned. The city as a whole should therefore be structured in a point and rich schedule of microevents with low density of people. An ambitious project that should see active collaborations between public and private.

Pierluigi Battista has launched a debate on the “Corriere” on culture in crisis, launching the idea of ​​a national fund to support it. All speeches are on

28 May 2020 (change on 28 May 2020 | 11: 00)