From Art experience to art as experience: how three monographic art's museums re-construct their spectators
de Cecco, Emanuela
Faculty of Design and Arts University of Bolzano Bolzano, Italy
If the museum of modern and contemporary art preserves among its high assignments the task to build a collection that has to mantain its value also in the future, nowadays it is not strange for this institution the necessity to increase its spectators and, on this point, malls and theme parks have a lot to teach.
With this proposal - emerged in the making of a research project finalized to investigate different relationships between art and public sphere - I would like to go one step further and to analyze one additional typology of art spectatorhsip.
I'm thinking to a shift, where the museum doesn't communicate with its audience borrowing suggestions from the shopping malls or theme parks, but assumes modalities taken from the experience marketing, intertwining these modalities with those characteristic of the movie's consume.
I want to analyze from this perspective three museums/studios respectively dedicated to three important artists of the XIX century, museum/studios built where these artists lived and worked: Paul Cezanne in Aix en Provence, Giovanni Segantini in St. Moritz (and in the close village Maloja), Pellizza da Volpedo in Volpedo, a little town not far from Milano.
The common trait is the recent acceleration of the identification's process of these places with the memory of the artists, a memory expanded outside the museums, with the building of tourist routes, paths and strolls where the spectator has the possibility to see "with his/her own eyes" what the artists saw with their "own eyes" and then transformed in masterpieces. Tourism, experience marketing and media are important, but what I would like to introduce is another way to think, look at, meet the artwork.