Michele Trimarchi, PhD, is Professor of Public Economics (Catanzaro), teaches Cultural Economics (Bologna) and co-ordinates the Lateral Thinking Lab (IED Rome). Member of the editorial board of Creative Industries Journal, and of the international council of the Creative Industries Federation, Michele is the founder and president of Tools for Culture, and vice-president of the Fondazione Teatro Comunale di Bologna.
Federica Antonucci was born in Rome, May 3th 1991. She has been awarded a Bachelor’s degree in Economics at La Sapienza University of Rome, and afterwards she got a Master’s degree in Cultural Management at Ca’ Foscari University of Venice. Her master thesis about collection’s management policy has been published in 2017 by EAI. She has an experience in working in contemporary art realities such as private and public museums, foundations, galleries. She’s currently working with Tools for Culture, a non- profit organization focused on cultural management and advisory. She also writes articles for Culturefuture.net.
Valeria Morea has a Bachelor Degree in Economics and Management at Roma Tre University and a Master’s Degree in Cultural Management at Ca’ Foscari University of Venice. She is currently PhD candidate at Mediterranea University of Reggio Calabria, department of Architecture and Territory. She explores the relation between art and public space from an economic point of view, with a focus on the issue of the evaluation and assessment of the impact. She contributed at the Symbola Report 2016 Io sono cultura and a book based on her Master’s Degree thesis on public art is being published. She works with Tools for Culture and writes for Culturefuture.net.
Ilaria Bollati is an architect, a graduate of the Politecnico di Milano, and holder of a Master in “World Heritage and Cultural Projects for Development” from the International Training Center of the ILO in partnership with UNESCO WHC. She has taken on various professional roles working with Fabbrica del Vapore and Studio Azzuro. Research Fellow in the Department of Design at the Politecnico di Milano, she is involved in innovative and common project between the University and the Piccolo Teatro di Milano. As a PhD candidate in at the University of Nova Gorica, she explores the actual and general accessibility to Cultural Spaces and Organizations, focusing upon the grid of relationships occurring among contents, innovation and participation, utilizing a triad of interactions among culture, economics and design.
Milan is the most internationally renowned town of Italy. Recently it has worked on new challenges, crafting environment friendly residences, and new posh buildings. The cost of such a vital growth is the increasing distance between the centre and the suburban areas within a complex and multi-cultural metropolitan patchwork. Symmetrically, a wide proportion of contemporary art collections is hidden in deposits, proving absent from the urban map and from the shared enjoyment of metropolitan community.
Invisible Art is a project carried out by Tools for Culture together with FARE (art residences) and the University of Milan Bicocca (legal issues), aiming at identifying, cataloguing and studying contemporary art collections of Milan, in order for their ‘invisible’ works to be re-located in suburban areas, where people are already aggregating and socialising.
Funded by the Cariplo Foundation, the project, through a multi-disciplinary analysis, has emphasized the lack of coincidence and consistency of cultural, commercial, and social maps of Milan, highlighting a sort of hierarchic overlapping whereby the distance between centre and periphery is multiplied by the recent growth of new art spaces and social convergence in the city-centre. Such a distance proves even wider if we consider the ratio between art spaces and resident population. The further step of the project will be the experimentation of extracting specific works from their deposits, locating them in controversial areas where old conflicts face emerging multi-cultural communities, in order for contemporary art to respond to the urgency of self-representation of a complex society.
The paper will finally focus upon the expected impact of Invisible Art upon the quality of urban life, its social capital, the allocation of human resources and the composition of its audience, elaborating guidelines for municipal action aimed at supporting its implementation and facilitating an equilibrated presence of art, projects and actions within the metropolitan framework.