‘… gli artisti, che ci fanno così divertire’
Written by Virginia Bianchi
Published on 14 May 2020
Culturush

Yesterday I had goosebumps. I was about to go to sleep, checking out for the last time my Facebook dashboard, when I read ‘… gli artisti, che ci fanno così divertire‘ – ‘… artists, who entertain us‘.

Said by the prime minister of probably the most artistically rich country in the world.

… artists, who entertain us

Is that really what they do? Entertain?

How have we come to this point? How did it happen that art is now in the background, that it is only followed by such a narrow niche of people generally considered as a bit crazy, who have their head in the clouds? How did it happen that now art is simply not necessary?

Art has always been part of our society, an essential part of us, and now it has been forgotten. Maybe our lives have started being so absorbed by the unnecessary, the superfluous, that we are not sensible enough to appreciate art. Maybe we have become too foolish, we don’t want to spend time trying to embody, to embrace art. It may be a question of knowledge, but I think that it is, even more, a question of our ability to feel. 

We are becoming too insensitive towards what we have around us. We do not appreciate anythingand I really mean it as something internal, that starts from our deepest being. We have unlearnt how to feel. Art has to be understood, for sure; but most of all, it has to be lived, it shapes our identity and now it seems like we do not know what our identity is anymore.

We are the generation of change, I am convinced we are the chosen ones to bring this change. But we have to act, to take not only our future but also the future of art, in our own hands. I am also convinced that we do not have to ask for change, we need to create change. At this point, we can’t give such a responsibility to the country who has already demonstrated many times that it is not able to take care of art and its professionals. I have always distrusted the Italian public sector – with a few exceptions, I think Italian museums have already demonstrated their deep rootings in the past, in a system that now is old and obsolete. We, the youngest generation, need to do everything in our power to make people feel again the necessity of art, the beauty of embracing all sorts of emotions coming from the outside. 

How to do that? I do not know. And I do not even think there is a universal answer to this question. However, I am sure that one thing we should do is to think about what we individuals can do to bring this change. And, when we have found our personal answer, put it in practice.

Art is necessary to keep our beings full of life. It makes us hungry, it makes us receptive. Let’s do everything we can to keep it alive.

You may also like…

Geumhyung Jeong, in Upgrade in Process – Fondazione Modena Arti Visive

Geumhyung Jeong, in Upgrade in Process – Fondazione Modena Arti Visive

I am glad to say that the first exhibition that I have had the honour to step into has been Geumhyung Jeong’s Upgrade in Process at Fondazione Modena Arti Visive. Jeong boasts an impressive list of shows, having exhibited at Delfina Foundation London, Kunsthalle Basel and Tate Modern, and discovering her works so close to home has been such a pleasure. She is a South Korean choreographer and performer whose work is constantly… on the edge.

Mona Hatoum, a short overview

Mona Hatoum, a short overview

Mona Hatoum is a Palestinian artist, now based in London. The exile, the theme of belonging to different cultures and, at the same time, to none of them, are some of the ideas she explores: a contributing factor is, for sure, her life and her continuous movements around the world. At the same time, however, it is interesting noticing how not one of the works she creates is explicitly autobiographical.

Anne Hardy, Tate Winter commission 2020

Anne Hardy, Tate Winter commission 2020

Metro and bus stops are located a few minutes away from Tate Britain in Millbank, London. For this reason, while walking towards the museum, the visitor unintentionally experiences the installation The Depth of Darkness, hearing its roaring sound effects without knowing where they come from. The nearer to the entrance, the more the visitor wonders what those blaring sounds can be, which evoke the roar of waves and cover the loud noises of the metropolis.