Alessandro Brodini DIDA | Department of Architecture, University of Florence
In the aftermath of the Second World War, the devastation caused by the bombing left a severely damaged architectural heritage in Italy. At the same time, it offered the extraordinary opportunity to rethink the world of the museum. During the fascist regime, twenty years before, the country closed itself entirely to the innovations that were changing the face of the prominent foreign museums. Such elements had been disseminated by the Mouseion magazine (founded in 1927) and discussed during the significant international conference on museography, held in Madrid in 1934. By paradox, during Italy’s fascist era, many Italian architects, looking at the European artistic Avantgardes (especially Bauhaus, De Stijl, and Russian Deconstructionism), acquired substantial experience in the temporary exhibition field. This experience proved to be fundamental in the post-war period. The propaganda exhibitions were used by the regime to celebrate their majesty and to persuade the masses, such as the famous “Exhibition of the Fascist revolution” (Mostra della rivoluzione fascista, Rome, 1932) or the Exhibition of the Italian Aeronautic Show (Esposizione dell’Aeronautica Italiana, Milan, 1934), the expositions organized by the Triennale of Milan and the trade fairs in Milan and Bari. They also played pivotal roles. Precisely during these
events, defined by Giuseppe Pagano as “intelligent shacks” in 1941, the architects proved themselves in an extraordinary hybridization of languages. The experimental nature characterized each setup, conveying architecture, graphics, designs, light designs, and sometimes sounds. The intersection among several artistic languages constituted the ground on which some exhibit solutions developed in the aftermath of the war. However, the most extraordinary results in museography were achieved thanks to the new generation of superintendents and museum directors. Well-educated and illuminated, they shared with the architects the social vision of the museum, which has now reached and taught a wide range of the public. Once limited to the cultured élites and devoted to the conservation of the works of art only, this secular institution is now appointed to educate in art, making visitors understand that what they are observing is part of their life and cultural roots. The report Musei e gallerie d’arte in Italia (Museums and Art galleries In Italy), published in 1953 by Guglielmo de Angelis d’Ossat, General Director of Antiquities and Fine Arts, restates such a conception. It aims to present the guidelines that characterized the new arrangement of 150 Italian museums. Museums are usually hosted inside historic
47 focus c • post-war museography in italy
focus c post-war museography in italy
