At the British Museum in London to visit Pompei and Ercolano…

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These days I have been following the evolution of the remote search of Alessandro Sicuro, the Italian blogger who always follows very closely these events on the mismanagement of the Italian cultural and artistic heritage. I work with this agency (sure-com) for almost a year, I read this article today and I decided to publish it on my blog, because I would like these things to let everybody know. It ‘a shame that all this happen in a country that has an artistic capital cilturale so awesome and yet can not make it productive. And ‘as bad as the beautiful country Italy to borrow for free, and his goods to other countries more’ rich in her strenuous. But it is not strange that the British accept the fact that it happened is incomprehensible is: who are those directors who give freely of these priceless treasures of all Italians?!

Kathy Kiefer

now the article of Alessandro Sicuro: ↴
 

BRITISH MUSEUM

WHY DOES ITALY FAIL TO EXPLOIT THE ARTISTIC SOURCE OF THE HIGHEST GAIN IN OTHER COUNTRIES?

BECAUSE THE ITALIAN STATE LENT FREE HISTORICAL ARTIFACTS OF POMPEII AND HERCULANEUM TO BRITISH ENGLISH?

IF THE EDITORS AND MANAGERS OF THE BRITISH ARE SO GOOD AT MAKING SO MUCH MONEY, WHY NOT PROPOSE THE ONGOING MANAGEMENT OF THE ENTIRE CITY OF POMPEII AND WHY NOT OF ITALIAN MUSEUMS!?

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Following the publication on my blog of an article on Italian art, (http://wp.me/p2kXuA-1fn), and its untapped potential, compared to European museums, including the British Museum and the exhibition on Pompeii and Herculaneum. Reading rather disturbing things in the newspapers a few days ago, I went to the English capital to ensure State-of- the-art in person, and get a better understanding of the situation

The mystery on the critical conditions in which the world of Italian culture and art has become increasingly dense and dramatic, faced with the realization that there are neither the means nor a true political will and entrepreneurial skills to manage those riches, as well as safeguard and then exploit this huge artistic heritage that makes our country unique in the world. My hope then is to make a small contribution to this debate, to send a message that can help reflect on how “sviliamo our potential” and especially about our limits: often we find pleasure in self-referential rhetoric of “Italy, the most beautiful country in the world,” and our presumption leads us to not promote truly this wonderful heritage, which could be a source of employment for many young people and of income for the State and the community.

The question I asked myself when I read that the British Museum could do 11 million pounds from March thru September 2013, with little more than 200 historical artifacts of Pompeii and Herculaneum “provided for free by the Italian State,” is this:

– why for free?

– because they can make these profits and us not?!

In those same months in fact –exactly from March to September, as I said in a previous article– a huge crowd of people has visited and is continuing to visit the exhibition “Life and Death in Pompeii and Herculaneum”, at the British Museum in London. After being at the show, beautiful for that matter, I asked myself some questions that perhaps deserve research and in-depth replies – and it is for this reason that this article is being written.

The price of a ticket to the exhibition is of 15 £. The Museum is selling 500 tickets daily and sells out all the tickets …! along with an unspecified number of tickets booked.  Judging by the amount of people, tickets with reservations are at least 500 every hour, which means approximately 4000 tickets per day at least (that is constantly full, there are no doubts, I checked in person), I confirm that is already all sold out (guest from time).  Oh yes, because unlike Pompeii, you can purchase tickets on-line, giving way to individuals and tour operators put in ready-made tour packages for their clients this opportunity, which is not possible in Pompeii …

I did a bunch of accounts, (these days there is also needed).

That Italy lacks money and work, especially for young people. So why is it that Italy can submit material that is so valuable to the British to make a lavish profit without obtaining at least half?

We see the figures: look at the size of the gift made to British aristocrats, tickets cost £ 15, daily sales unit 4000, duration of the exhibition 180gg.

Then, £ 15 x4000x180 days = £ 10,800,000, which are obviously the proceeds from the sale of the catalogues and various gadgets connected to view (atleast the same digit).

Now, from the same interview in Corriere, we learn that the beautiful pieces on display in London were “provided for free by the Italian State” because it “would appear as the rag-a-muffin state initiative, would be really bizarre and demeaning to pay exhibits abroad”. Then however, anywhere, the Museum of Riace, complains about the lack of staff and funds, while France, not exactly in rags, has implemented the same operation with Abu Dhabi, by restoring the balance – and the Palace – Louvre, (remember that the Paris Museum collects as all Italian museums put together?!).

Many Italians and plus Myself would like to figure out who decided on this donation? There were perhaps of the palaces in Italy? In this country we have beautiful palaces, in excellent condition, as Florence (Palazzo Strozzi, Palazzo Pitti. Or Roma, scuderie del Quirinale, or in Caserta, in order not to make too many miles, in splendid Palaces, the Castello Sforzesco in Milan). How can anyone be reminded of anything like that?

We are waiting for answers, thanks …

Alessandro Sicuro

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