The BCC Banking Group launches the program to valorise its collections. With 116 works made available to the public, the institute becomes the largest national private widespread museum
What story (and what Italy) do the 116 works of the Bcc Arte & Cultura project presented on Tuesday 10 December in Milan, in the reading room of the Braidense Library, tell? On the one hand, that of Bcc Iccrea, the largest cooperative banking group in our country (made up of 114 cooperative credit banks) which with this project “signs” its first initiative of cultural integration and valorization thus creating, at the same time, the largest national private widespread museum entirely based on the collections of the group’s banks.
Though, the 116 works also showcase all the richness of italy’s small homelands, an Italy (surprising and varied) that has long remained “confined” to collections of these local banks: Cola dell’Amatrice (Saints Mary Magdalene and John the Evangelist and Saints Peter and Paul1515); Lavinia Fontana (Judith and Holofernesaround 1595); Mattia Preti (Saint Sebastianaround 1660); Alessandro Magnasco (Confession of Capuchins1720-1725); Pietro Aldi (Living room of Palazzo Corsini in Rome with consolecirca 1880); Ettore Tito (Sarabande,1934); Giuseppe Zigaina (Laborers returning home at night1953); Afro (Untitled / Black1963); Antonio Ligabue (Peasant landscape with horse and birds1956); Venturino Venturi (Pinocchiocirca 1970).
«With this project – underlined Giuseppe Maino, president of the Bcc Iccrea Group on Tuesday 10 December – we have taken up an ambitious challenge: to raise awareness the red thread that ties each institute to its people and its land: nothing can make it visible more than art and culture.Somehow we wanted to bring everyone together bell towers of Italian creativity, the talents and mastery expressed by the territories through the centuries and witnessed today by our collections”.
These are treasures that remained inaccessible for a long time, a sequence of techniques and subjects that the project finally brings to light: the lace ofUniverse (1931) created by the Royal Professional School of Furniture and Lace of Cantù alongside the architecture of Carlo Pagliara for the Cassa Rurale e artisana di Capaccio, Salerno (1988). «Some of these works are real discoveries – he explained Cesare Biasini Selvaggi, curator of Bcc
The project gives shape to something new cultural tourism itinerary which it will be possible to visit in person or through a web portal, dedicated to immersive 3D consultation.
But Bcc Arte & Cultura will also reach lower secondary school students.A digital text for use by teachers (edited by Stefano Cravedi, expert in multimedia training) will be disseminated free of charge by the Bcc in the schools of the communities of settlement, «to inaugurate educational paths that lead to becoming familiar with the art and culture of the territories».
From creative laboratories to inclusive teaching, from artificial intelligence to dialog with works of national appeal, the intent is to accompany the younger ones to explore the works and masterpieces of Italian craftsmanship in the collections of the Italian BCCs, hidden as treasures to be discovered and rediscovered along the unbeaten roads of our Peninsula and its islands. «The initiative – added Mauro Pastore, general director of the Bcc Iccrea Group – aims to enhance the Italian cultural heritage through new technologies and use social participation as a lever for inclusion and regeneration».
Among them many rediscoveries linked to the project there are works «known to past-critical sources but of which traces had been lost»: the Sleeping woman (1931) by Franco Gentilini, the Christ kissing humanity (1897) by Filippo Carcano or the Portrait of Francesco Domenighini (1898) by Cesare tallone from 1898. There are artists yet to be discovered such as Natalia gasparucci (1952) and Glauco Matteucci (1945), «contemporary talents of sandstone sculpture». And young artists to be promoted such as Alessandra Zani and Emma Busi, authors of the mural A look at the past (2022) created in Fiesse, in the province of Brescia, to mend a piece of the city vandalized by a criminal act.
On the occasion of the launch of Bcc Arte & Cultura, the Bcc Iccrea Group «seized the prospect» to support the restoration of two notable works from the Braidense heritage of Milan: the manuscript catalog of the Numismatic Cabinet, in two large volumes, which describes the assets of the Cabinet library, reconstructing its organization and consistency, and the Mazzuchellianum Museum
in two volumes, famous catalog of the vast collection of medals of the Brescian count Giovanni Maria Mazzuchelli (1707-1765), a man of letters and passionate collector, with 208 tables in which medals with portraits of illustrious men are reproduced. A way to confirm the thoughts of Angelo Crespi, director of the Pinacoteca di Brera and the Braidense, who yesterday, on the occasion of the presentation of the project, spoke «of the fundamental role of tools such as that of the Bcc to preserve the memory and conserve the artistic heritage that has been left to us.”
December 11, 2024 (modified December 11, 2024 | 8.35 pm)
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How does teh BCC Banking Group’s initiative contribute to local cultural tourism in Italy?
Time.news Interview: unveiling Italy’s Cultural Treasures
Editor: Welcome to Time.news. Today, we have an exciting discussion lined up with Cesare Biasini Selvaggi, curator of the BCC Arte & Cultura project, which recently announced the unveiling of 116 incredible artworks from the BCC Banking Group’s collections. Cesare, thank you for joining us.
Cesare Biasini Selvaggi: thank you for having me. It’s a pleasure to discuss this critically important initiative that celebrates Italy’s cultural heritage.
Editor: The BCC Banking Group’s project has been described as the largest national private widespread museum in Italy. Can you share the motivation behind this ambitious undertaking?
Cesare: Certainly! The motivation stems from a desire to illuminate the artistic wealth that exists within our local banks. Thes collections have often remained hidden, confined to their regions. Our aim is to create a cultural dialog, connecting art, history, and community, while showcasing the diverse talents from across the country.
Editor: That’s interesting. The phrase “cultural integration and valorization” was used during the launch event. How does the project achieve this integration,specifically with the communities involved?
Cesare: The project fosters a connection by highlighting art that reflects the local identity of diffrent regions.For instance, works by artists like Lavinia Fontana and Mattia Preti tell stories of their respective homelands. By making these artworks accessible to a wider audience, we are bridging the gap between the past and present, while reinforcing the relationship between people and their cultural heritage.
Editor: It sounds like these artworks are not just pieces of art; they carry stories and histories of the places they originate from. Can you tell us about some standout pieces?
Cesare: Absolutely! For example, Cola dell’Amatrice’s Saints Mary Magdalene and John the Evangelist, painted in 1515, offers insight into religious life of the time. Then there’s Lavinia Fontana’s Judith and Holofernes,which encapsulates a strong female narrative. Each of these works has been carefully selected to reflect the cultural fabric of Italy over centuries.
Editor: That’s quite a rich tapestry. Giuseppe Maino, president of the BCC Iccrea Group, mentioned a “red thread” connecting each institute to its people and land. How do you see art facilitating this connection?
Cesare: Art is a powerful medium that transcends barriers. It evokes emotions and tells stories that resonate with our collective identity. Through exhibitions and cultural events, we aim to cultivate a sense of belonging and pride in our shared heritage, thus weaving this red thread tighter.
Editor: With 116 artworks now made public, what kind of impact do you foresee for cultural tourism in Italy?
Cesare: This project will undoubtedly shape a new cultural tourism itinerary.By promoting these collections and the narratives behind them, we attract visitors not only to large museums but also to local communities that host these treasures. It’s an chance for an immersive experience that enriches both visitors and residents alike.
Editor: Lastly, Cesare, what message would you like to convey to those who may not yet appreciate the cultural significance of these local treasures?
Cesare: I encourage everyone to explore the richness of Italy’s art beyond the famous names and cities. There’s a wealth of talent, creativity, and stories waiting to be discovered in our regions. Visiting these local treasures not only deepens your understanding of art but also fosters an recognition for the diverse narratives that shape our cultural landscape.
Editor: Thank you,Cesare,for sharing your insights with us. It’s clear that the BCC Arte & Cultura project is not just about showcasing art, but about celebrating and intertwining the stories of Italy and its people.
Cesare: Thank you for having me! I hope everyone can experience the wonders that our local heritage has to offer.