ITALIA / ITALY
La industria azulejera italiana presenta el centro cultural Mater Ceramica / Presentation of Mater Ceramica, the first Centre for Italian Ceramic Culture
El ciclo Building, dwelling, thinking, paralelo a Cersaie 2017, sirvió como escenario para la presentación de Mater Ceramica, el primer centro de cultura italiana que aspira a convertirse en un epicentro para el aprovechamiento de sinergias entre la industria y el arte.
El proyecto nace con el respaldo económico del Ministerio de Desarrollo Económico de Italia y fue presentado en Bolonia por Luciano Galassini, subdirector de Confindustria Ceramica; Fulvio Irace (profesor de Historia de la Arquitectura en la Politécnica de Milán); Stefano Micelli (profesor de Economía en la Universidad de Venecia) y el experto en cerámica Vittorio Amedeo Sacco. También tomaron la palabra en el acto de presentación Claudia Casali, directora del Museo Internacional de Cerámica en Faenza; Maria Chiara Bignozzi, directora del Centro Cerámico de Bolonia; Massimo Isola, presidente de la Asociación Italiana de Ciudades de Cerámica; y, por último, Maria Savigni, teniente de alcalde de la ciudad de Sassuolo, en el epicentro azulejero del país transalpino.
Luciano Galassini agradeció a todos los profesionales y docentes su labor y recordó que el proyecto de dos años constará de tres etapas: "Primero, la investigación y recopilación de datos completos de las empresas que operan en el sector con el objetivo de crear un mapa nacional; posteriormente, un análisis del desempeño técnico de la cerámica; y, finalmente, la difusión de los datos a través de un sitio web, un atlas geohistórico y una guía turística". Galassini enfatizó el valor cultural e histórico de esta iniciativa, que busca preservar el conocimiento intrínseco de los objetos cerámicos, tan ligados a la cultura de Italia.
Tras la proyección del video "Mater Ceramica" de la directora de cine Francesca Molteni sobre la historia de los usos modernos de la cerámica desde Gio Ponti a Renzo Piano, las charlas fueron impartidas por parte de tres académicos que enfatizaron el valor del material.
The Cersaie 2017 ‘Building, dwelling, thinking’ cultural programme saw the presentation of the first “Mater Ceramica” Centre for Italian Ceramic Culture (Mater is an acronym for ‘Mapping art technology and research’) aimed at promoting awareness of the sector’s constituent fields: industrial, artisanal and artistic. The project, which received funding from the Italian Ministry for Economic Development, was introduced by Luciano Galassini, vice director of Confindustria Ceramica, after which more detailed talks were given by Fulvio Irace (professor of History of Architecture at Milan Polytechnic), Stefano Micelli (professor of Business Economics at the Ca’ Foscari University of Venice) and ceramics expert Vittorio Amedeo Sacco. The speakers also included Claudia Casali, director of the International Museum of Ceramics in Faenza, Maria Chiara Bignozzi, director of Centro Ceramico Bologna, Massimo Isola, chairman of the Italian Ceramic Cities Association, and Maria Savigni, deputy mayor of Sassuolo.
Luciano Galassini thanked everyone involved and recalled that the two-year project will consist of three stages: “First, research and collection of full data of companies operating in the sector with the aim of creating a national map; then analysis of the technical performance of ceramics; and finally dissemination of the data via a website, a geo-historical atlas and a tourist guide.” Galassini emphasised the cultural and historical value of this initiative, which aims to preserve the knowledge intrinsic in ceramic objects, “because a people without memory is a people without future”.
Following the screening of the video “Mater Ceramica” by film director Francesca Molteni on the history of modern uses of ceramics from Gio Ponti to Renzo Piano, talks were given by the three academics. Professor Irace discussed a number of fundamental themes, particularly the renewed attention to company archives: “We must view the past as a resource,” he said, “focusing on what we could describe as the ‘power of the archive’. Alongside the large museums, such as that of Faenza, company archives offer a veritable treasure trove of technical, production and family knowledge.” Irace believes that future vision and research must be rooted in the past. We must strive to “represent the system of historical and productive knowledge in a global and unified way”.
Micelli, an expert in the economics of artisanship, discussed the development of manufacturing industry. “Over time, artisans evolved from craftsmen to entrepreneurs, and began innovating and experimenting with technology and design,” he said. “In Italy craftsmanship has always gone hand in hand with entrepreneurship.” He then set out the three aims of his contribution to the project: “The first is to identify small-scale artisans who would be capable of offering products outside their local regions and projecting themselves internationally through e-commerce.” The second concerns tourism: “When tourists visit cities or regions, they are increasingly looking for something authentic, and they can find this in working techniques. Access to local culture can be gained through these traditional skills, so what we are trying to do is integrate this into an advanced tourism and cultural programme. We want to understand how this happens in the 37 Italian cities included in the study.” The third goal involves providing economic support to these small-scale producers. “We want to identify particularly interesting market niches that might offer an outlet, such as museum merchandising or corporate gifts. This would allow a portion of this offering to be channelled through currently little-used distribution and commercial spaces.”
Architect and ceramics expert Vittorio Amedeo Sacco explained that the heart of the project involves raising awareness of the importance of the regions and their histories and key personalities. “Another important aspect is that of industrial ceramics, the showpiece of Italian manufacturing,” he said. He offered insights into all aspects of ceramics in architecture, design, craftsmanship and art and explained their interconnections. “If we examine these sectors we find they do not have clear boundaries and instead overlap.” In short, he said, it is not possible to separate industrial ceramics from other fields because they are all closely interconnected.
The talks by Claudia Casali, director of the International Museum of Ceramics in Faenza, Maria Chiara Bignozzi from Centro Ceramico Bologna and Massimo Isola from the Italian Ceramic Cities Association explained the involvement of their respective institutions with the ultimate aim of improving the competitiveness of Italian ceramics by raising awareness of its quality.
To conclude, the deputy mayor of Sassuolo, Maria Savigni, discussed the relationship between ceramic production and the local area, with particular emphasis on the Ceramicland Project.
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