Florence’s mayor, Matteo Renzi (above), now in his second term in office, struck a deal in 2010 with the then minister of culture, Sandro Bondi, to help the city reap more benefits from its tourism industry. Between 2010 and 2013, the ministry of culture will forgo 20% of ticket revenue from Florence’s national museums, which will be used to fill funding gaps in the Nuovi Uffizi project (around €3.5m a year).
The city of Florence has long been accused of lacking vision when it comes to contemporary art, a charge that is hard to refute. Ex3 Toscana Contemporanea, the only contemporary art museum in the city to receive public funding, was forced to close in mid-June because it had run out of money. It opened in 2009 and had so far mounted 16 exhibitions. However, its public subsidy of €85,000 in 2011, for example, was not enough to cover its annual operating cost of around €200,000. The director of the museum, Andrea Tanini, pointed out in an open letter that Florence’s €2m cultural budget for 2012 is destined almost entirely for established institutions that are already financially stable.
This blow to the city’s already struggling contemporary art scene is a symptom of the city’s cultural strengths and weaknesses. Florence is by no means a large city but it has 50 cultural institutions, including 25 state museums, seven municipal museums, private collections, churches and oratories, palaces, historical gardens and piazzas. However, the overall consensus is that, despite this treasure trove, Florence lacks any sort of cohesive cultural strategy. This has, in turn, created a situation in which the tourism industry has dominated and alienated the city’s inhabitants from their own cultural heritage. Carlo Sisi, a celebrated art historian and the president of the Marino Marini museum, says: “Florentines look at the Bargello museum, the Palazzo Pitti and the Uffizi as tourist hotspots rather than as places that belong to their world. This is why we need to rethink our cultural strategy to include them in it.”
Edek Osser, Tina Lepri and Ermanno Rivetti
The Art Newspaper