A new strategic plan, with a new Manager and 25 staff are working to protect Pompeii.
A feasibility study for the creation of an Observatory of heritage institutions’ audiences and a National Unit for the monitoring and evaluation of audience services has been carried out.
4.2.2 Heritage issues and policies
Heritage has always been at the core of Italy's cultural policy. The Italian state, through the Ministry for Heritage and Cultural Activities / MiBAC, is not only responsible for the strategic task involved in the protection of the country's extremely rich and multi-layered heritage, but has direct responsibility for the management of a huge number of national heritage institutions, including 200 state museums, 220 monuments and archaeological sites, 46 libraries and 100 archives (MiBAC, Minicifre della Cultura 2012).
Detailed legislative and regulatory measures for the protection and valorisation both of cultural heritage – from museums, monuments, archaeological sites and historical cities to the intangible and the digital heritage – and of the Italian landscape, have been established by the Heritage and Landscape Codex (see chapter 5.3.3), whose further revision, though, is presently foreseen by an ad hoc commission just appointed by Minister Bray.
As for the key issues dealing with heritage currently being debated – linked to the present, quite dramatic shortfall in funds described in chapter 4.2.1 – some of them have been addressed by the recent Decree "Valore Cultura", establishing, by art.3, the reallocation to MiBAC of earned income from tickets, bookshops, etc. (currently going to the Treasury), as well as increased financial resources for some museums and sites (including the "Uffizi" in Florence) and special allocations for the launch of the special project "500 youngsters for culture": an extraordinary programme aimed at developing the cataloguing and digitalisation of cultural heritage in the southern regions, by training and employing 500 young people under 35 (art. 2).
The main focus of Leg. Decree 91/2013, though, has been the "Great Pompei Project" (art.1). Following the worldwide concern caused by the repeated collapses of Pompei's walls and artefacts since 2010, urgent action had been envisaged through a special Great Plan for Pompei, jointly drafted by MiBAC and the European Commission, allocating 105 million EUR (of which 42 million from the European Regional Development Fund, and 63 million from the Italian state). The plan – officially announced by the then Prime Minister Monti and the Ministries for Heritage and for Territorial Cohesion in January 2012 – was aimed at the rehabilitation and restoration of the whole archaeological area, as well as at the development of tourism, both national and international, by promoting its attractiveness. Unfortunately, due to bureaucratic delays (see chapter 3.3), works are only now being started after new collapses took place: so much so that in June 2013, as a follow-up to an ad hoc inspection, UNESCO threatened to withdraw its "World Heritage" label from the site of Pompei in case significant improvements in the protection of the archaeological area do not happen by mid 2014.
In order to tackle such a threat, Leg. Decree 91/2013 provides for the appointment of a General Project Manager, assisted by an ad hoc technical and administrative staff of 25 units, who will closely collaborate with the Archaeological Manager, Pompei's Soprintendente, in effectively running the restoration works as well as in enhancing the site for the public enjoyment. With this aim in mind, a "strategic plan" for the running of the UNESCO site Archaeological areas of Pompei, Ercolano and Torre Annunziata should be drafted and adopted within 12 months.
As far as "fostering public-private partnership" is concerned – an aim strongly pursued by all the most recent Ministries of Heritage, including Minister Bray – the pace of reform in our country is gradual and still underway.
A first measure adopted – Law 4/93 – opened the doors of national museums to private agents willing to take over the management of the so-called "auxiliary services" (bookshops and museum shops, cafeterias, merchandising, etc). Subsequent financial laws have broadened the scope of private intervention, extending it to core museum activities such as education and exhibitions. Leg. Decree 368/98 enabled the Ministry for Heritage to temporarily hand over the management of certain museums and other heritage institutions to ad hoc private foundations. Another more indulgent measure (Budget Law 2002) would simply allow the Ministry to privatisepublic services aimedat increasing access tocultural heritage. All these measures have been substantially endorsed, and subsequently further modified – by calling for more stringent requirements – under the new Heritage and Landscape Codex (see chapter 5.3.3).
The problem of fostering public-private partnership is also among those tackled by Leg. Decree 91/2013, which provides for the Minister of Heritage to single out, by October 2013, new forms of involvement of the private sector in the valorisation and the operation of cultural goods, also following the advice of a recently appointed ad hoc commission.
For the time being, though, experiments with the public-private partnership have been carried out so far more frequently either at the local level (Rome, Venice..), or in the framework of state-local cooperation. The latter was the case of the Egyptian Museum of Turin (see chapter 7.1), the first national museum to be transformed, in 2004, into a public / private foundation, with the participation of MiBAC and the local public authorities, along with the local banking foundations. More recently, in 2010, MAXXI – the new state museum for contemporary arts (see chapter 8.1.1) – was given foundation status: although, for the time being, the foundation is only supported by the state, in the future it could be opening up to private entities.
Italy's action in the heritage field is presently more and more focused on its modernisation through the adoption of new technologies for the conservation and promotion of its historical and artistic assets – satellite archaeological prospects, digital cataloguing systems, information services for visitors, etc. - often in partnership with other countries in the framework of EU projects (see chapter 3.4.3 and chapter 4.2.11).
The ministerial programme ICT Culture – in which Italy is acting as a landmark at European level – is mainly focused on promoting digital cultural contents on the web. Other programmes, like Internetculturale and Culturaitalia – as well as the European project Michael (see chapter 3.4.3), in which Italy is actively participating – are aimed at fostering the digital accessibility of heritage, libraries and archives. The same goes with the recently launched programme "500 youngsters for culture" (see above). Furthermore, according to a recent agreement with Google to make Italy's main sites more accessible through the digital programme Google Street View, thefirst site to be made accessible is Pompei.
Alongside "virtual" access, wider issues of cultural attendance and participation have been addressed by the DG for the Valorisation of Cultural Heritage since its creation in 2009 (see chapter 2.3 and chapter 3.2). While Art. 6 of the Heritage and Landscape Codex generally defines the key goals of "valorisation" as "promoting the knowledge of cultural heritage and guaranteeing the best possible conditions for its public utilisation and enjoyment, including on the part of people with disabilities", the challenge remains how to nurture a deeper heritage awareness through programmes and activities aiming not only to increase attendance figures, but also (and most significantly) to initiate a new, closer relationship with diverse audiences, by listening and giving voice to the needs, expectations, and knowledge systems of individuals and communities. In order to respond to this challenge, the DG for the Valorisation carried out a preliminary survey of existing data and information (see, inter alias, Fondazione Fitzcarraldo 2011 and Parca 2012) to identify key weaknesses in the promotion and valorisation of Italian heritage, and develop a set of strategies and guidelines to redress them.
Strategies resulting from these studies are aimed at improving the accessibility, comfort, and cultural supply in heritage institutions through better orientation and information systems (from panels and captions to audio-guides) and through ad hoc services for special audiences; at promoting heritage through communication campaigns; at improving international agreements for the promotion of Italian heritage abroad; at organising heritage education programmes aimed at all audiences, also by means of new technologies.
Guidelines for accessible communication and information systems, for the promotion of cultural access in national museums and heritage sites (see the call for proposals for "Promoting innovative forms of cultural participation" in chapter 8.2.2), and for a better integration of cultural heritage systems, are currently being developed and tested.
Finally, the DG has carried out a feasibility study for the creation of an Observatory of heritage institutions audiences and a National Unit for the monitoring and evaluation of audience services.