Why I want more Mahmood and Ferragni in museums.

If you don’t have time to read I’ll give you a quick summary of the article:

Eike won by 24.

Not even if they had agreed.

On July 16, in the same hours that Mahmood was launching the “Dorado” video on his social channels , Chiara Ferragni was grappling with a shoot intended for a photo campaign for Vogue Hong Kong.

In parallel, two of Italy’s most important museums, the Egyptian Museum in Turin and the Uffizi in Florence decided, willy-nilly or not, to raise a ruckus on a quiet midsummer weekend.

Because while antagonizing bigots in the cultural world is easy enough, making them froth with rage, however, is the stuff of applause.

How? Let’s see in this article.

I am aware that what I say might piss some people off but I am ready to accept the consequences.

Mahmood dances naked at the Egyptian Museum and the boisterous Ferragni visits the Uffizi

Winner of the 2019 edition of the Sanremo Festival, Mahmood chose the Egyptian Museum in Turin as the setting for part of his new video.

In the scenic Gallery of Kings, among statues, sarcophagi and sphinxes goes the scandalous, shirtless dance of the Egyptian-born singer, who sends fans and Director Christian Greco into ecstasy:

“I am really pleased that a place dedicated to a millenary culture, such as the Egyptian Museum, can be a source of inspiration for contemporary forms of expression, becoming a space capable of stimulating the creativity of young artists.

The juxtaposition between our collection and Mahmood’s music fully expresses the sense of universality that characterizes the various languages of culture, carriers of messages that can reach and enrich anyone.”

Meanwhile, Chiara Ferragni was taking the opportunity to visit the Uffizi guided by director Eike Schmidt.

From there on, on both sides, drama ensues.

The keyboard criticisms

The sacred museum world has been violated and the social people take a stand on the institutions’ channels:

“Bad use of a museum with bad music. Make us the fish market then.”

“You have committed a very serious act in my opinion. Shocking that a museum, but more a general place of culture and preservation like yours lends itself to such filth. I am appalled.”

“But you can enter the Uffizi dressed like this???? 🙈🙈🙈”

“You people are crazy! you covered this masterpiece by putting a subject that represents anything else. Delete this post!!!! sorry but it is an insult to Botticelli.”

“To think that the Uffizi’s incredible heritage is in your hands makes me sick!”

That the average Italian was not an ideal target audience for those running a museum was certified.

In fact, according to Federculture, 38.5 percent of adults in Italy (those who therefore have the ability to spend) do not participate in any kind of cultural activity (and only 28.3 percent expressed strong cultural participation).

For nearly 4 out of 10 citizens therefore, art, heritage and culture in general represent an unattractive set of activities.

Worsening this condition is the fact that, according to the Human development report 2019, 47 percent of our population suffers from functional illiteracy, that is, they fail to “understand, evaluate, use and get involved […] to actively intervene in society and develop their knowledge and potential.”

That is why of keyboard phenomena ranting, spewing hatred, ultimately demonstrating all their ignorance I honestly am not surprised.

But of others unfortunately yes and I regret …

Criticism from insiders

In recent days, I have seen the champions of sacred art become protagonists in the negative with attitudes bordering on the ridiculous, unable to see beyond pre-established patterns in academic antiquity.

This is because according to them:

“Chiara Ferragni and arts and culture promotion don’t go together.”

Seriously?

Is this really your problem?

There are no tourists, the art cities are in disarray, there is no master plan to safeguard the sector, we have no leadership that can coordinate the institutions at this particular time in history, and you point the finger at an influencer?

I am the first to criticize the marketing-side bullshit and the choices in innovation of many realities, but you are frustrated enough dear ones.

Art historian Tomaso Montanari (“One you can always count on to read a poorly thought out opinion” cit. Gaia Soncini) not content comes out railing against the management:

“Is it right, sensible, wise, for the Uffizi Gallery to put all its art and history at the service of Ferragni?”

Assuming that the influencer was not at the museum for a commissioned marketing campaign of the same, come hell or high water if a personality of Ferragni’s caliber walks in, you take her on a tour.

Period.

Many then argue that even if Ferragni’s fan club were to catapult to the museum, they would not do so motivated by a sincere interest in heritage but out of a spirit of emulation in a “trendy place.”

So what? Isn’t it the job of museum workers to indiscriminately educate those who come through the door?

For a museum truly open to dialogue

Mahmood and Ferragni are not the first to wreak havoc in this area.

Without bothering Beyoncé and Jay-z at the Louvre in 2018, at the recent Italian Museum Summit., I had the pleasure of interviewing Domenica Primerano.

Director of the Tridentine Diocesan Museum, in 2015, to celebrate the 20th anniversary of the museum’s reopening, she invited the singer Anansi for a traveling concert at the museum.

This was frowned upon by his staff, fearful that the works might be ruined by the invasion of the terrible Trent kids.

The result of the performance?

The 200 people who flocked not only did not ravage the museum, but intrigued by the works asked the guides inside for information throughout the evening.

Do you understand?

It’s up to you to find new systems to bring in new visitors and make art better understood with a mixture of modes of communication … without bias.

It matters little whether the visitor can be educated or not:

your job is to ensure that he has easy access to information and that you are ready for him to have a perfect experience from the moment he makes contact with you.

And unfortunately, until we learn that today’s museum must always be geared toward openness and relationship, we will not come out easily.

If you would like to share your opinion, we are talking about it here:

PS There were 9312 visitors who flocked to the Gallery between Friday and Sunday, a 24 percent increase from the previous weekend when there were 7,511 visitors.

Eike won by 24.