Dear friends,
your appeal and the reference to the date of birth Sardinian Cinematheque (1966) reminds me inevitably to the early 60s, in particular to 1963 and 64 I worked with Fabio Masala, and participated in the work of the Humane Society, with placements in Meina and Sardinia. I remember that job 'founder' of culture, even as a work in which I was being established myself as a 'man of culture'. It was a theme that Fabio was very Masala, to start working in a cultural group that deprive us aspiring intellectual air of privilege or the smell of the academy. Jokes on Stage, the ability of management techniques (the sender), to the performances (to read cards and other novels) to stand in groups in a balanced way, not to be too individualistic and the sense of the public use culture have been crucial for the generation that was then 'made' the '68 and created the cultural circles, networks still sono vive. Anche nella sezione del PSI di Cagliari e poi del PSIUP con Fabio ci caricavamo il proiettore a 16 mm pesantissimo per proiettare Il ferroviere di Germi, o ci addestravamo a leggere brani di libri di letteratura a sfondo sociale che leggevamo nei circoli di lettura. Facevamo un lavoro di base, con un linguaggio non elitario mirato alla cultura come patrimonio collettivo. Il proiettore talora non funzionava, ci mancava la lampadina di riserva, e dopo aver fatto 'speakeraggio' con una Cinquecento e avere raccolto un po' di giovani non certo avvezzi agli incontri culturali dovevamo spiegare che il film non ci sarebbe stato. Talaltra la nostra insistenza per il dibattito incontrava resistenze 'pre-morettiane'. Ma facevamo quello che ancora oggi è il nucleo della formazione culturale di massa, cercare la gente dove vive e coinvolgerla nei processi culturali che schivano i luoghi di frontiera e la gente comune, per cercare riflettori, bravi presentatori, e televisioni.
Fabio Masala riuscì poi con la Cineteca Sarda a creare un servizio culturale diffuso, che nasceva da quelle esperienze fondative, ma che si basava proprio sul lavoro capillare di 'organizzatori di cultura'.
Ho scarsa considerazione dei processi che nascono dall'alto, da gente molto pagata, che ha magari entrature mediatiche, che sfoggiano supertecnologie e nascondono nuove forme di privilegio se non la mercantilizzazione e spettacolarizzazione (Aestheticization) of the sphere of culture. The culture has long been flooded with good presenters and polemicists narcissists who proclaim their own indispensability.
year the ICOM - Italy and the Conference's national museum associations have made a strong appeal, almost dramatic, exhibitions against major 'blockbuster' without research and with great tourism appeal, condemning to silence the museums and cultural work of research, made by skilled mediators and supported by advisors with a desire for visibility. He raised the role of culture of the organization stable against the ephemeral, considered desertificanti exhibitions, which reflect a deposit and then take away billions to public networks minute and local museums, schools, local associations. Statistics leave many feet have crossed a threshold where the goal was to fetishize a few objects or works of the Louvre, or smuggle a work culture where there were only 'masterpieces', uncritical or objects that are important because they are announced with much publicity organized for-profit.
I believe that we must take the cultural battle against the management of culture by politicians, managers, not by specialists, against the great centralizing architectures and pharaonic projects, against the extension of the concept of spectacular high-quality production Public events cultural, culture to serve the public, and managed by those who do research and not by who is the best advertising slogans. I'm living in Tuscany, dramatically, these phenomena, because it is an active advocate a left historically linked to this territory, but strongly transformed by the media management of politics and culture.
I am busy for several years on the front of ethnographic museums, and chairs the national association of museums and demo-ethno-anthropological heritage (Simbdea) in this paper I have rediscovered the importance of 'organization culture' and I started back to work with Fabio Masala: in the sense that museums are all film, TV, read the story, historical memory, poses problems to expand access, they must win the public, especially young people, communicate with schools, etc ... I've rediscovered issues such as civil society, the work from below for democracy, the new concepts of community , also mediated by the Internet, the cultural isolation of many social actors (young people, immigrants, older women ...), the subjective need and importance of collective 'each tell his story' and do not always tell the same stories of the few who have access to TV and publishing market.
What do I say that the type of work I did with Fabio Masala to the origins of the Cinematheque Sarda, change techniques and cultural spaces, is still indispensable. This year I decided to describe the work of the local museum with a cell phone image from Naples in recent years, and the educational practices of border cities in Latin America, full of children who escaped or were orphaned, that of 'master' of the road, you search for students and that shapes his work as a cultural achievement from an encounter with them. A museum 'master of the road' does not point to the signature of a great architect, but a tenacious research, dialogue with technology, discovery of local cultures (and the young 'You Tube') that things often do artists contemporaries to understand how the world is changing.
I think a lot about this job and I am convinced that the Film Library of Sardinia is made of this kind of work 'embedded' in a social memory that would be useful to reactivate, which has a potential for constant updates (it has always been a feature) , and 'organization culture'. It's really not that much time working with you, except for some occasional encounter but I have always confirmed the idea of \u200b\u200ba 'heritage' of knowledge, practices, documents unavoidable. So I can not give full support and motivated about things that do not know, but I'll do with enthusiasm as part of a common history of the organization's culture in dialogue with civil society, in the belief che quel modo che ha formato me è ancora valido nella formazione diffusa e capillare oggi, nell'uso sociale partecipato dei beni culturali e del patrimonio culturale di cui parlano le nostre leggi .
Forza Paris
Pietro Clemente
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