6.5 Research and Promotion as Key Vector for Success | Cenacolo Vinciano - Chiara Rostagno, Director

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Del curso dictado por Università Bocconi

Arts and Heritage Management

350 calificaciones

Università Bocconi

Arts and Heritage Management

350 calificaciones

Today cultural institutions are facing important dilemmas in many aspects of their management. Over the past decades, a new figure has emerged that of the art manager. Imagine you went to work every day to connect artists with audiences, vision with reality, and money with a mission. That is what managers in the arts do, they play an essential role in transforming the minds, lives, and communities through creative expression. This course has been conceptualized to address the need of skills and techniques to help professionals and managers in running art and cultural institutions. Learning Objectives There are three objectives to this course. First, we will approach the biggest issue cultural institutions face, the coexistence of managers and curators and giving evidence as to when, how, and why they can get along. Second, we will focus on some contemporary facets on what is means to manage a cultural institution and what cultural managers should expect and be able to face. And lastly, we will provide models and tools to design and implement appropriate courses of action to satisfy customers (visitors and audiences) and build an advantage over the competition. Course Structure The course is divided into six sections. Five sections are dedicated to specific aspects and themes of managing cultural institutions, while the sixth section is dedicated to individual interviews of prominent cultural institution managers on specific topics. The involvement of professionals and managers gives an incredible value to the learning experience of this course. Each module is paired with a quiz and discussion forums to reflect on the variety of the heritage management, its complexity, and the power of the network that we will build together during the course. Successful completion of the quizzes is required for a course certificate as explained in the Grading Policy page. If you love art and want to make an impact in this unique and fantastic sector, this course will support you in understanding the peculiarities of this sector and how to leverage on its tools to make a bigger impact. Look forward to meeting you online! Acknowledgements: Vatican Museums: www.museivaticani.va Cenacolo Vinciano: www.beniculturali.it/mibac/export/MiBAC/sito-MiBAC/Contenuti/MibacUnif/Eventi/visualizza_asset.html_1283837989.html (ITA) FAI (Fondo Ambiente Italiano): eng.fondoambiente.it MUVE (Fondazione Musei Civici Venezia): www.visitmuve.it The National Trust: www.nationaltrust.org.uk The Archeological Site of Paestum: www.museopaestum.beniculturali.it whc.unesco.org/en/list/842 Museo dell'Opera del Duomo (Florence): www.museumflorence.com Museo del Violino: www.museodelviolino.org _________________________________ Disclaimer - Since some of the videos are conducted with those whose native language is not English, we have decided to sometimes preserve their more emphatic speech to keep a tighter match between the audio and subtitles.

De la lección

MEET THE MANAGERS

Hear what managers have to share about how they deal with the main topics of this field: A collection of best practices told directly from the people responsible for these success cases.

6.1 Meet the managers0:51

6.2 Reliving the Past in the Present | Archeological Site of Paestum - Gabriel Zuchtriegel, Director14:36

6.3 An Example of Virtuosity | Fondazione Musei Civici Venezia - Mattia Agnetti, General Secretary7:18

6.4A FAI Contemporary Art and Collection | Villa Litta Panza - Anna Bernardini, Director3:56

6.4B FAI Fundraising and International Networks | Villa Necchi Campiglio - Alessandra Varisco, International Fundraising Manager11:26

6.4C FAI Fundraising and CRM - Patrice Simonnet, Head of Individual Fundraising7:50

6.5 Research and Promotion as Key Vector for Success | Cenacolo Vinciano - Chiara Rostagno, Director13:18

6.6 - Vatican Museums - Barbara Jatta, Director12:44

6.6A Vatican Museums - Antonio Paolucci, Former Director8:53

6.6B Vatican Museums - Rosangela Mancusi, Head of Multimedia and Web Office10:49

6.6C Vatican Museums - Anastasia Biller, Head of the Office of Public Relations and Services13:41

6.6D Vatican Museums - Luca della Giovampaola, Head of Technology Support9:38

6.6E Vatican Museums - Diego Ortuso, Head of Museum Security Staff7:50

6.7 Museo dell' Opera del Duomo (Florence) - Fr. Timothy Verdon, Director4:56

6.8 National Trust - Simon Murray, Senior Director3:47

Conoce a los instructores

Andrea Rurale
Director
Master in Arts Management and Administration (MAMA)

We are here with Chiara Rostagno,

the Director of the Museum Cenacolo Vinciano here in Milan.

And in this museum, the masterpiece is The Last Supper by Leonardo DaVinci.

Thank you for this time.

What is the main characteristic of this place, why is it so important, so

magic for the history, why is it so important for people all over the world?

Thank you, Andrea, for your question.

This place is really not common and it became really important immediately

when Leonardo finished the painting at the beginning

of the century, people started to visit this place.

So we can say surely that this is a sort of natural born

museum and the painting was really important.

Also during Renaissance, people started to visit this place and

it was immediately clear that it was so fragile and

this is the problem that we have also today, the painting

was really immediately damaged.

The reason why is because Leonardo adopted an experimental technique.

This is a wall painting, basically it's not a fresco and

we have a lot of problems for the conservation of this masterpiece.

That's the reason why, today, we have a lot of visitors, of course,

more or less half a million of people during the year, 1,300 per day but

we cannot meet only 30 people every 15 minutes because

of the program of the conservation of the painting.

The point is the way that Leonardo painted this painting, so

it's not a fresco, it's painted on dry wall?

Yeah. And because of this, there is in a way,

the reason of a management problem that you're facing as a director

nowadays comes from the origin of the painting itself.

The fact that it's fragile, it started being deteriorated year after year.

And nowadays, when was the moment

that the minister that this museum belongs to decided to start the restoration?

The other thing, after the restoration, what is the impact of the people that

enter here, why can so many people damage it, so big lines can damage,

or also the dust can damage it?

Andrea, let me say that during the last century there was

several interventions for preservation of the painting.

The last one was started around 1978, and it was

finished after 21 years, in 1999.

It was really important because for

the first time in the history of painting, they decided to remove the layers that were

added during the centuries in the idea to preserve it.

So, this is the problem and after the last restoration,

they started to work also in the indoor condition.

Here we are in one of the most pure places all around the world,

in a kind of big frame, this building is a kind of

wide camera

aecause here we have no pollution, no dust,

let me say that here is not a common place to take care of a painting.

Daily, we are working in that direction because we daily try

to find better conditions for the preservation of the painting.

Let me say that this is one of the most important aims of

my period because I started last year to be the director

of the museum in November of the last year and immediately, I

decided to have here a kind of reserve center.

We are now daily working with a lot of universities as the City University of Hong Kong,

Politecnico di Milano, Milano Bicocca,

State University, and also Bocconi, of course.

Now we are really glad because recently we started to be

a center of the most important council research of Italy,

that is the CNR, that is the best in Italy for research.

We tried to work with also the scientific department

of our ministry that is the Istituto Superiore Centrale del Restauro

because we want to improve, to always have better conditions.

Also to preserve the painting and

also to work in the light of renovation of our museum and

perhaps to be able to have more visitors and

to change the way to use and live inside our museum.

We are facing a good example of heritage management where there is

a combination of research and curatorship with management and engaging the visitors.

In a way, we can say that working on the better condition for

the visit allows eventually

to increase also the number of people that will be able to enter in this room.

We hope more than thirty people or

more slots, in order to allow more people to visit it, so

getting more revenue during the year.

We're back with a very concrete and

clever site to look to the

preservation and conservation of the painting itself.

In order to go further, you mentioned the central research institute,

The idea is to study in order to do what?

Because the point is, this is the painting, this is what the painting says,

The Last Supper.

The story of The Last Supper is quite easy to understand.

The goal is also to allow more people to enter into contact with it.

What about education?

What about helping the visitors

here to live with their own specific and unique experience?

What are you doing in order to help and use the knowledge coming

from the research in order to market that and to engage the people?

Of course, Andrea, this is a really important aim for us, because in Italy,

museums are a place of culture and

they are aimed to improve study and research.

This is an important point in our Italian experience.

It's not a place to preserve something, it's a place

where you can help people to understand how the relationship

between people and cultural heritage can help.

We want to understand how to improve our culture.

How, not only to be proud of it, but also to

understand our future looking at our heritage.

Let me say that in our mind, our museum is looking at the future.

Of course, we have a strong important history on the back.

We have the memories of the big

and strongest periods of the Renaissance here.

We can also understand the relationship between renovation and

the traditional expression

because inside the refractory we have not only Leonardo,

but we also have Donato Montorfano

that was a really important great painter in the North part of

Italy of the age and he surely is an expression of tradition.

Let me say that our museum works strongly in that direction to

give value to the past, looking forward to the future.

That's our aim, of course.

The research has started only a few

months ago, and so we have work hard,

but we have also today some important results.

We would like to provide also an scientific experience

to our visitors because they can understand not only the value of

the important heritage that we have inside the museum.

But also, the heritage of a culture that has been working

for five centuries trying to keep Leonardo Da Vinci's masterpiece safe.

That's the reason why we want to improve our ability to work with the kids,

with new generations to help them

understand how amazing it is to work on our cultural

heritage to be able to work in a different light for the future.

Basically, we would like to be the opposite

of the common idea of the museum because when you're talking with people,

they have the idea of museums like a place without changing, with a lot of dust.

Let me say that we want to be without dust, surely, for

the preservation of Leonardo, and we want to be a place for innovation.

Of course, as you said before,

this is a place of research, of course,

we can improve our separate system, how our age of system,

also the reduction of seismic events and so on.

But let me say that the experience here in The Last Supper Museum

can be a reverie for people all around the world.

We have a lot of important professors and

people of science that daily help us, of course,

because of Leonardo, but we would like to help little

museums all around the world that truly that has programs in research and

fundraising to find a way to preserve cultural heritage.

We would like to have the real Leonardo code to

to the experience of the preserving of the painting here

and to give the opportunity to people all

around the world who will know our experience and

to understand how to preserve their cultural heritage.

Thank you very much, Chiara Rostagno,

the Director of the Museum Cenacolo Vinciano in Milano.

Thank you too.

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