Prof. Pierluigi Barrotta, Director of the Italian Cultural Institute, London
by M. Beatrice Fazi
The Italian Cultural Institutes are the Italian government's official agencies for the promotion of cultural relations and play a significant role in thepractical implementation of cultural dialogue in the host country. The London Institute opened nearly sixty years ago, in 1949, and it is responsible forcultural exchanges between Great Britain and Italy. The bilateral "cultural and scientific cooperation agreement" between these two countries dates back to1951, when the European Union was in embryo as the "Coal and Steel Community". It was renewed in 1992, the year of the Maastricht Treaty which for the firsttime officially included a specific cultural dimension. We talked with Pierluigi Barrotta, the current director, to find out more about how this complex machinery that goes under the name of "cultural diplomacy" works, not only in relation to Italy and Great Britain, but also considering the wider European picture.
Coming from academia - he is professor of Philosophy of Science at Università di Pisa - Pierluigi has been always professionally in touch with the cultural environment. But what is the place of culture in the conduct of modern diplomacy? Has culture the power to shape, change and influence public perceptions? 'The connections between cultural diplomacy and foreign policy are deep andundeniable' he comments. 'This applies especially to Italy, as Italian culture has acquired a certain prestige abroad that fosters the overall image of the country. I've noticed here in Britain a sort of "schizophrenic" attitude towards our country. Whereas there is a great love and affection for our culture, our history, art and nature, it is also true that British are generally very wary of Italian politics and economy. In my opinion,' he continues, 'these factors are connected. It is difficult to imagine a country having alively cultural life without a solid institutional and economic foundation. It's the Cultural Institute's aim to show how these aspects are mutually dependent insociety.' In this regard, the ICI has organized several meetings between Italian and British journalists, in order to spread a more balanced opinion of Italian society and institutions. So, not only Italian culture, but also "way of life"? 'Yes, any aspect of Italian life, as they are all closely connected.
'Apart from the "Italian Language week", all our events are held in English, so our target is mainly the British audience', he replies when asked about the Institute's audience. 'Obviously, there are many Italians as well, fellow countrymen who live and work here in London but like to keep cultural contact with their mother country. I would say that fifty per cent of our audience isBritish, and fifty per cent Italian.' But what is the role of Italian language in the cultural promotion of thecountry? The British Commonwealth, making the most of common historical andlinguistic heritage, allows the encounter of subjects belonging to different realities, and so do France, Portugal and Spain. Italy has no postcolonial legacy. Is this a handicap for the diffusion of Italian language? 'Yes, not having a postcolonial network can be seen as a linguistic disadvantage. Nevertheless, in my experience, Italian defends itself well.Generally speaking, Great Britain is not keen on learning foreign languages, but we have never experienced any difficulties in promoting Italian. The Institute is open even on Sundays to hold language courses. I conducted a small survey, 'Pierluigi continues, 'on the reasons behind the choice of learning Italian.There is a small percentage of Italian immigrants of second or third generation,who want to study the language to discover their roots. Then there are peoplewho have bought properties in Italy and need to speak Italian for practical reasons. Or people that simply love the language for its beauty and musicality.But the main reason, I would say, is still Italian culture and life: opera enthusiasts who wants to be able to read librettos, lovers of history of art who want to have access to our heritage, admirers of our cuisine and so on.' So Italian is learnt as the language of culture rather than the language of business.A common language is considered a defining feature of national identity. There is great concern throughout Europe over reconciling both national and European characteristics. It is not clear, it has been said, how one can be an Italian/German/French citizen and, at the same time, a European one. The United Kingdom has proved to be particularly sceptical on this point. Language, again, appears to be the stronghold of culture, accordingly the European Union itself operates through its 23 official languages. Here is professor Barrotta's opinion: 'Many countries, such as France and Germany, pay great attention to defending their own language,' he comments. 'Some object that here at ICI we run too many events in English. Personally, I believe that the Italian language can defend itself only if the Italian culture also does so. Language and cultureare, indeed, intimately connected. Purists argue we should not import English or foreign words into our language. But to me, this process is, on the contrary, quite natural and understandable. It results from competition between cultures. For instance, a chemistry teacher once complained that in Italian academia all the jargon of this subject in now in English. And how many Italian patents are there today? But instead, when it comes to arts, for example, all the world talks about "arte povera", not surely "poor art"! If we are culturally innovative and proactive, then language will certainly benefit.' And he concludes: 'When Italian language ranks well, it is because it can count on alively cultural life. Rather than opposing protectionist measures then, we should focus on the cultural dimension.
ICI and EC - A pARTnership
'Looking at the events and activities of the ICI in London, we must not forget our fruitful collaboration with the European Commission that has grown steadily during 2007.' Rossana Pittelli, the Visual Arts curator at the ICI, talks enthusiastically about it. 'It is the Cultural Institutes' duty to be open to dialogue and establish contacts with other institutions, both public and private.' Especially in London, she adds: 'With regard to the visual arts, London is today what New York was yesterday. It is vital, therefore, that the artist has as much visibility here as possible.'
The outlets include not only art galleries - Spectrum and Austin/Desmond are among those that have collaborated with the Italian Institute - but also institutional buildings that have become places to show and discuss art. The exhibition space at 8 Storey's Gate - the European Commission's UK residence - is 'an extraordinary place for an artist to show his/her work. Here at the ICI there are so many events and activities running that we do not always have enough room for them. The European Commission provides emerging artists with the ideal platform, not only to make themselves know, but also because it is a place where all the European cultural exponents meet and can establish a sort of "legacy".'
This collaboration began last March, with the participation of the photographer Maria Mulas in "The best of European Contemporary Art" exhibition held at the European Commission. Then it was the turn of the painter Francesco Gonzales and his first solo exhibition in London. 'When Francesco came here with his portraits of Sir Denis Mahon, I thought the EC was exactly the right place for showing his tribute to this great British collector and curator of Italian art, who also attended the event.'
And in the future? 'There are so many proposals and suggestions!' Rossana announces. 'The next event will involve Gabriele Grossi, a conceptual artist who photographs light - something really astonishing. He is a new discovery though, as he doesn't have a gallery or any other support behind him.'
'Then we will show "Mediterraneo: a sea that unites", next 24th January at the Italian Cultural Institute'. For Italians, the importance of the Mediterranean sea - mare nostrum, "our sea" - is evident. But for the English and European audience? 'Absolutely relevant,' she responds. 'Forty artists from three continents are participating. There is currently such a lot of discussion about art and politics. Many embassies responded superbly to this initiative. We are here, in this beautiful building, but if we stay within our territory so to speak, we don't achieve much. Establishing relationships, this must be our principal mission, and as you can see, it is not an impossible one.'
Italian Cultural Institute - London
39 Belgrave Square
London SW1X 8NX
tel: 020 7235 1461
fax: 020 7235 4618
icilondon@esteri.it
http://www.icilondon.esteri.it
© by M. Beatrice Fazi. All views expressed in this article are those of the author and do not necessarily represent the views of, and should not be attributed to the European Commission.