Culture Minister Alexander Giuli's guidelines in detail

What are the guidelines on which the new Minister of Culture Alessandro Giuli intends to set his action? Last October 8, in front of the Culture Commission of the Chamber of Deputies, Giuli expressed his vision in an hour-long speech: the attention of most, however, was catalyzed by an introduction criticized by many because it was apparently obscure (it was actually a very clear preamble, only expressed in a language, a bit amplified, to which we are no longer accustomed). The discussion of the words Giuli used to introduce the guidelines diverted attention from everything else, that is, from the part that is fundamental to understanding what to expect from his action. Let us therefore see in detail what the minister spoke about, starting with the very premise.

Giuli began by stressing the honor and responsibility that comes with his appointment and the determination to engage in dialogue with the relevant committees, an essential step in ensuring that the guidelines are the result of constructive discussion. A fundamental premise is the connection of the guidelines with Article 9 of the Italian Constitution, which enshrines the protection of artistic heritage and respect for the environment and biodiversity. Giuli stresses that the programmatic guidelines must be anchored in the reality and needs of the present, thus responding to a social and cultural urgency. Culture must be seen not only as a heritage to be preserved, but as a dynamic tool for social, economic and human development.

The minister then made a strong reminder of the need to combine the humanistic and scientific dimensions of culture, rejecting a dichotomous view between the two. The introduction began with a consideration (the one the object of most people’s attentions) on new technologies: Giuli warned against the dangers of a passive enthusiasm for technology, which can lead to a disconnection from the human dimension, and the defensive attitude that regrets an idealized past, ignoring the potential offered by progress. To overcome this dichotomy, in an age when cognitive processes and social dynamics are profoundly influenced by technology, it is crucial, according to the minister, to reaffirm the centrality of the human being, as already advocated byintegral humanism. Giuli cited emblematic figures such as Pythagoras, Dante, Galileo, Meucci, Fermi, and Marconi to reiterate that culture must be a synthesis of art and science, not a battleground between ideological positions.

In this context, culture is defined as a “disinterested search for truth and beauty,” echoing Adriano Olivetti’s definition. Giuli evoked the figure of the Italian entrepreneur and intellectual in his opening remarks to illustrate how culture can act as an engine of development. Olivetti was able to combine work, science and culture in an organic development process capable of involving local communities. This model, according to the minister, must serve as an example for today’s cultural policy, which must aim to create virtuous processes of decentralization, enhancing community resources and widespread cultural heritage.

The minister’s vision is enriched by Paolo Portoghesi’s reference tohumanistic architecture, which highlights the importance of architecture that respects nature and tradition. Portoghesi had already pointed out that culture should be understood as a common good, capable of connecting center and periphery, a concept that Giuli believes is crucial in addressing contemporary challenges. Cities and towns should not be considered as separate entities, but as parts of a single cultural texture. In this inclusive vision, Giuli calls for overcoming the opposition between center and periphery by promoting an approach that values Italy’s diverse cultural identities. This approach implies a recognition of the diversity of cultural experiences, where each community has an active role in shaping its own future. The ministry’s programmatic guidelines thus aim to foster the creation of an integrated system of collaboration between regional, local, and private entities, with the goal of making culture accessible to all, regardless of their origin or social situation.

Reconnecting center and peripheries

The first action recalled by Giuli is the reconnection of center and peripheries. According to the minister, it is crucial to establish a deep connection between the center and the peripheries, conceiving culture not only as a material good, but as a vehicle for sociality and cohesion. Portoghesi’s thinking on multicenter cities provides an excellent basis for broader reflections. His idea of “landscape philosophy” invokes the need to understand and value the Genius Loci, a concept that transcends mere souvenir and represents the soul of a place.

Those involved in culture must recognize that the concept of the suburbs can no longer be relegated to a marginal area, the minister stressed. The peripheries must be integrated into a multicenter, stellar vision of the great history of Italian architecture. It is essential that the culture spread widely, overcoming the contradictions and difficulties that often characterize these areas. This approach requires an integrated system that fosters collaboration between regional and local authorities, public and private, in line with the programmatic lines of the Ministry, which guards and promotes the world’s most significant cultural heritage.

Museums: social redistribution of profits

Continuing, Giuli rattled off data on Italian museums, highlighting records for 2023. The Pantheon, in particular, generated significant revenues (12 million euros), proving that culture can be an engine of economic development. However, it is crucial to overcome the dialectic between gratuitousness and profit. Although the gratuitousness of cultural places is a value to be preserved, it is equally important to ensure that the funds needed for their maintenance and enhancement come from a sustainable admission system. In fact, the creation of admission fees, according to Giuli, should not be seen as an attack on culture, but as a way to sustain and improve cultural offerings.

These funds, moreover, must be used, according to the minister, in a process of social redistribution, “almost like a purpose tax,” Giuli said. It is imperative to enhance the enjoyment of smaller, often neglected sites and invest in socio-cultural projects that meet the needs of communities, particularly in the suburbs. This is where culture can assume a crucial role: as a tool of beauty and knowledge, capable of addressing and reducing hardship and marginalization.

The Italian government has already launched several initiatives in this regard, such as the promotion of free access to cultural venues on festive occasions, which has been very successful and has become a permanent practice. In addition, efforts are being made to encourage the creation of cultural spaces in the suburbs, such as libraries and community centers, to promote access to knowledge. These places should become outposts of democracy, education and sociability, thus helping to build a more cohesive and informed society.

Promotion of reading and culture as a tool for social cohesion

It is crucial, according to Giuli, to reflect on the role of libraries (“outposts of democracy, education and sociability,” the minister called them), especially in areas with limited access to cultural resources. Supporting these institutions means ensuring that culture reaches everyone by removing social and architectural barriers that prevent access to reading. Promoting the pleasure of reading among young people is a crucial mission to sustain publishing and the cultural fabric of the country.

Reconnecting the center with the peripheries is not an easy task, especially in contexts like the Apennines, where urban decay and depopulation represent significant challenges. Working closely with local authorities and universities, the government, Giuli recalled, has launched programs to reconnect cities to towns, promoting a culture that is not limited to the physical redevelopment of spaces, but focuses on rebuilding a lively and dynamic socio-economic fabric.

One of the key initiatives is the extension of culture as a tool for social cohesion, enhancing the immense historical, artistic and landscape heritage of Italy. Integrated cultural routes can become factors of development, linking historical sites, museums, galleries and archaeological parks into a single network. These routes can not only attract tourists, but also reinvigorate the local economy, creating job opportunities and stimulating interest in culture, even in the suburbs that must be transformed “into pulsating centers of culture.”

Initiatives for children

Giuli also paid attention to the little ones: cultural regeneration must also take into account welfare and especially child welfare : “we like the idea of children being able to grow up and live in culture from an early age,” the minister said, also hoping for aid for working mothers and working fathers who work in cultural settings, and also giving children (not only children of employees of cultural venues, but in general), the opportunity to have educational experiences connoted from an early age.

Cultural diplomacy

According to Giuli, Italy, which recently hosted the G7 culture summit, must continue to invest in cultural diplomacy and international cooperation so that its cultural wealth can be a model of development for other countries. The Venice Biennale and other cultural initiatives in the Mediterranean provide an opportunity to build bridges between different cultures and promote constructive dialogue. The work of cultural diplomacy interapreso by Italy, Giuli said, “must also become central and strategic from the point of view of an international policy that plays its role of communication, an instrument of dialogue and peace in a world traversed by increasingly widespread wars.”

Central, for the minister, will be the Mattei Plan for Africa: culture is identified as one of the main areas of intervention, and Italy will be able to make available to African governments and its extraordinary technical skills for the enhancement of African cultural heritage with a view to development and growth. The commitment abroad will be directed in collaboration with the Ministry of Foreign Affairs and International Cooperation.

Within this framework, there will be no lack of commitment to Ukrainian cultural heritage. Giuli’s ministry will continue its efforts to defend art from the dangers of conflict, but not only that: the protection of heritage from the risks of climate change, the minister assured, will also be the focus of his work. In this regard, Giuli also called for a major plan to secure works of art.

Again, in the context of reflecting on the return of cultural property, according to Giuli, it is crucial to recognize the tireless work of law enforcement agencies, particularly the Carabinieri, who work daily to safeguard our artistic heritage. The ceremonies that accompany such events should serve not only to celebrate the return of works of art, but also to highlight the value of cultural diplomacy, which underlies many of the returns. These diplomatic agreements are the result of ongoing efforts, both bilaterally and internationally, to recognize and enhance our cultural heritage.

Enhancement of technological heritage and collaboration with schools and universities

The Ministry of Culture, in Giuli’s vision, does not just cherish the past; it also wishes to promote a vision of the future. Technology, in this sense, plays a key role. Unique artifacts, such as satellites and underground cable technologies, represent Italian innovation and should be an integral part of the museum collections of the future. We want to tell generations to come about the technological transition we are experiencing, showing how Italian genius continues to emerge in various fields, including industrial design. In this sense, it is also crucial to rediscover the historical heritage held in the collections of great Italian companies, and to promote it so that it can nourish museum exhibitions, highlighting Italian imagination and creativity.

Again, according to Giuli, culture is not an isolated entity, but permeates every aspect of social, economic and civil life. For this reason, it is the minister’s intention to strengthen collaborative ties between different ministries, particularly with the Ministry of Education and the Ministry of Universities and Research. The creation of an integrated educational plan and an inter-ministerial observatory is a significant step toward greater integration of cultural and educational policies. These ideas also stem from stimuli received from Italian intellectuals and thinkers, such as Massimo Cacciari, who urged a rethinking of education and training in Italy beyond traditional ministerial competencies, although Giuli, instead of “overflowing” as Cacciari suggested, prefers to “collaborate harmoniously with other afferent ministries and try in an inter-ministerial logic to pose the issue.” “We are thinking,” Giuli said, “about an integral vision of culture and its fundamental social function that requires us to reflect, leading to the definition of new government objectives that can once and for all combine the protection and enhancement of cultural heritage with the needs of public education and the training of future generations.”

Enhancement of hamlets and geologically more vulnerable areas

According to Giuli, the realities of the most vulnerable hamlets and communities need to be thoroughly considered. The preservation of local identities is crucial, especially in contexts of demographic risk, such as places affected by the earthquake. Cultural heritage is an integral part of the country’s history, and we need to work to preserve it, even coexisting with major calamitous events. The MAXXI Museum in L’Aquila is an example, Giuli said, of how safety and heritage enhancement can be integrated, using the scars left by earthquakes as an opportunity to tell stories of resilience and regeneration.

The National Plan for Villages, according to Giuli, is in this sense a further step forward in promoting economic and cultural activities in local communities. Through this call for proposals, it is the minister’s intention to support micro, small and medium-sized enterprises and promote initiatives that encourage the active participation of the population. In this context, the awarding of the new title of Italian Capital of Contemporary Art is an important initiative, which aims to stimulate the design and enhancement of contemporary art in Italian cities.

Initiatives for cinema

Cinema, according to Giuli, plays a crucial role in shaping a shared vision of Italian cultural identity. This medium, through the telling of collective stories, does not merely entertain, but in the minister’s vision also performs an educational function, engaging audiences in a broad cultural discourse. Its power is such that it influences the collective imagination and promotes greater awareness of the social value of culture. For this reason, the Ministry of Culture has launched a reform program for public support for film and audiovisual with a budget of 700 million euros for the period 2020-2024. This reform proposes to correct some of what Giuli identifies as distortions, which had led to public financing mechanisms, such as the Tax Credit, being seen as a “quality-leveling automatism,” and to “disburse public contributions in a hail of light regardless of the quality of the works and their ability to stand on the market.”

However, it is crucial to clarify that the concept of “staying in the market” does not exclusively imply the generation of profit, but also refers, according to Giuli, to the survival of a product in the landscape in which viewers seek works of value. It is clear that there are circumstances in which culture cannot be measured only in economic terms. Therefore, it becomes essential to listen to the demands coming from the majority of the audiovisual sector, which has called for a review of the selection methods for funding, leading to the adoption of a specific law. The “distortions,” Giuli said, “have allowed for the financing of qualitatively questionable works, screened at at least ’clandestine’ times, in some cases circumventing specific and public programming obligations.”

The reform therefore introduces stricter controls and harsher penalties for those who violate the rules. It also introduces selective calls for proposals and a 52-million-euro fund for audiovisual works, aimed at enhancing the nation’s cultural identity. This is intended to give strong encouragement toward the audiovisual sector, with the aim of strengthening the quality and cultural diversity of the works supported and increasing their dissemination both nationally and internationally. Although it may seem like a bureaucratic aggravation, it is actually, according to Giuli, an attempt at genuine simplification toward the film sector, while maintaining rigor and order. Finally, a platform for the submission of Tax Credit applications is expected to be opened.

It is important, according to the minister, to avoid two extreme and misleading representations: on the one hand, the idea that the Tax Credit could become a superbonus for an assisted sector, and on the other hand, the perception that the Ministry of Culture may have ideological biases toward a cultural sector that contributes to Italy’s global reputation. On the contrary, the minister’s intent is to make access to credit simpler and more transparent, always measuring the effectiveness of regulations on the ground.

Initiatives for live entertainment

Live entertainment represents a fundamental aspect of our artistic cultural heritage, and includes, the minister stressed, historical re-enactments. The Ministry of Culture plays a central role in measures to coordinate, promote and encourage these activities, including at the international level, ensuring adequate financial support. The national fund for performing arts is a strategic priority for Giuli, as it is intended to support the 14 opera and symphony foundations and about 1,500 organizations operating in the fields of music, theater, dance and circus arts. For 2024, available resources exceed 423 million euros, increased by an additional 23 million, plus 3 million for historic Carnivals, 3 million for choir and band festivals, and 2 million for historic re-enactments.

Looking to the future, Giuli sees live entertainment not only as a cultural factor, but also as an instrument of sociality and a crucial element of the national cultural industry. Giuli’s action will focus on strategic goals to monitor the rehabilitation of opera and symphony foundations and support the entire sector so that it can continue to actively contribute to the country’s cultural and economic growth.

Minister Giuli is committed to supporting theater, dance and music by all means, paying special attention to the potential of the performing arts as tools for the regeneration and redevelopment of peripheral areas. This commitment extends from training new generations to supporting professionals and encouraging wider enjoyment of this extraordinary heritage of beauty.

Investment in cultural places

Through the use of NRP funds, the minister will pursue energy efficiency interventions in cultural venues, thereby fostering the ecological transition. Significant projects are already under development, such as the reopening of Palazzo Citterio in Milan, which will welcome the public in a month and house the contemporary collections of the Pinacoteca di Brera.

In addition, the Uffizi Galleries will become diffuse to enhance the heritage housed in central deposits, and in Naples, theformer Albergo dei Poveri will be transformed into one of the largest cultural infrastructures in Europe. With an investment of 130 million euros, an immense space of more than 100,000 square meters will be created to house the branch of the National Archaeological Museum of Naples, a modern library and a graduate school of the Federico II University, as well as world-class cultural events.

Another project of special interest concerns the Crypta Balbi in Rome, where it is intended to tell a story of a journey through the millennia, from ancient Rome through the Middle Ages to modern Rome. The Crypta Balbi, located in the place where Aldo Moro’s body was found, offers, according to Giuli, a unique context for telling the story of the city and the country. The minister went on to stress that it is not enough to limit oneself to exhibition spaces; it is essential to tell the story of the context and historical layers, allowing a deeper understanding of Rome’s identity.

Culture as memory

In this spirit of remembrance (“culture,” Giuli said, “must make memory, be memory, and prevent the obliteration of remembrance and the repetition of horror”), the minister recently commemorated the first anniversary of October 7, highlighting the importance of culture in keeping memory alive and preventing the repetition of horror. Parliament approved the creation of the Shoah Museum in Rome, and the ministry has built Binario 21 at Milan’s Central Station and Rome’s Tiburtina Station, a place of remembrance where thousands of Italians were forced to leave for concentration camps. At the opening of Binario 21, the testimony of life senator Liliana Segre deeply affected the audience, further demonstrating how culture can be a powerful tool of remembrance. Soon, Giuli said, a vote will be taken in the House on the establishment of the Museum of Remembrance, while a major exhibition on the subject will be set up at the Vittoriano.

Minister Giuli wants to emphasize the importance of moving beyond political divisions, saying that culture represents a common heritage (“I like to think,” he said, “that we get out of the pattern ’one exhibit mine, one exhibit yours’”). In 2025, figures such as Antonio Gramsci and Pier Paolo Pasolini will be remembered (in particular, there will be an event linking his work to that of Yukio Mishima), creating events linking their works to those of great contemporary authors.

Technology and artificial intelligence

Aware of the new opportunities offered by artificial intelligence in the cultural field, Minister Giuli intends to harness these innovations to analyze and restore works, manage and monitor cultural heritage, and make art and history more accessible to all. Virtual and augmented reality will offer visitors the opportunity to explore historical places and museums interactively: the most recent example is the collaboration between MAXXI and Vittoriale, through which, with a virtual reality system, it is possible to visit Vittoriale without moving from MAXXI.

Artificial intelligence, according to Giuli, opens up so many possibilities: analyzing paintings, reassembling dismembered polyptychs, classifying artifacts, helping us translate ancient texts, inscriptions and manuscripts, virtually exploring ancient ruins, historical sites or exhibitions by having them interact with virtual characters. It is therefore crucial “that culture manages to exploit the development potential foreshadowed by the application of generative intelligence, which is already visible in other industries.” Minister Giuli is therefore committed to promoting a model of innovation and change that enhances Italy’s cultural heritage, creating virtual connections between museums and local realities, so as to make heritage accessible to all.

New hires at the Ministry of Culture and personnel management

Minister Giuli announced the desire to proceed in continuity with the work developed over the past two years, initiating a process that, although defined with a challenging term, represents good practice. Giuli highlighted the placement of 4,205 staff, with an additional 1,400 expected by the end of the year. This is in line with the ministry’s plans to ensure a knowledge transfer between current workers and future recruits in order to maximize accumulated experience and improve the effectiveness and efficiency of the dicastery. It is crucial, according to the minister, not to dissipate the diverse pool of technical skills that already exists.

The goal is to equip the ministry with new lifeblood, not only to better manage day-to-day activities, but also to ensure that staff adapt to changing technical and technological innovations. To this end, highly qualified professional figures have already been introduced to adapt to the ongoing processes of innovation and change, characterized by specific and up-to-date skills. The minister stressed the importance of organizational well-being and professional development of all staff, with the intention of maximizing the potential of each worker.

These measures will, in his view, help create greater public value and optimize work performance in favor of the ministerial mission. In particular, there are plans to establish an automated system for managing training activities, with individual pathways that can truly support and stimulate individual worker skill enhancement. In addition, Giuli hinted at the future introduction of insurance for workers and the strengthening of the fund earmarked for staff development, pointing out that these are concrete measures being implemented.

Reorganization of the Ministry of Culture

Finally, the minister addressed the issue of the reorganization of the ministry, pointing out that the recent reorganization decree passed by former minister Gennaro Sangiuliano provided for the transition to a departmental structure, “with the aim,” the minister stressed, “of improving the exercise of functions.” Each department will be able, according to Giuli, to coordinate the tasks assigned to the directorates-general more effectively and quickly

The recent ministerial decree, registered by the Court of Auditors, redefined the structure and functions of the central, peripheral and autonomous offices of the ministry, consistent with the new organizational structure. This includes the establishment of new departments for the general administration and the strengthening of the functions of the Department for the Protection of Cultural Heritage, to which responsibilities related to archaeology, fine arts, landscape, archives and library assets will be returned.

Finally, Giuli highlighted the revitalization of the functions of economic enhancement of cultural heritage by expanding the special autonomy of museums and archaeological parks, and creating a central institute for the economic enhancement of cultural heritage. The functions of the Department of Cultural Activities will also include the management of copyright, and the minister announced that procedures for the appointment of management positions, both at the general and non-general level, will soon be launched.

Minister Giuli concluded by reiterating the importance of involving the entire ministerial apparatus in the concrete implementation of the reform in order to ensure the operability of the offices. He stressed that the legitimacy of the work of the cultural heritage administration depends on interaction with all stakeholders, from public institutions to private entities and civil society. He also acknowledged the centrality of Parliament, stressing the importance of an open and constructive dialogue that allows for criticism and remarks, which are essential to ensure accountability of the government’s work.

Culture Minister Alexander Giuli's guidelines in detail

Warning: the translation into English of the original Italian article was created using automatic tools. We undertake to review all articles, but we do not guarantee the total absence of inaccuracies in the translation due to the program. You can find the original by clicking on the ITA button. If you find any mistake,please contact us.