Beauty. Or rather art at the service of citizenry
How many meanings does the word heritage have? And how many heritages have we, in Europe, too often abandoned or forgotten? One of the richest and simultaneously most neglected is certainly our artistic heritage. It’s a heritage that’s not only made up of material works, enclosed within museums or hidden on street corners, but also and above all a series of styles, techniques, and even feelings that are vastly different from one another, yet at the same time are unique and recognisable as “typically European”.
Within this intangible heritage, which primarily consists of ways of looking at reality and conveying it in a new form that’s capable of revealing its sometimes hidden aspects, art becomes communication’s first and most important area of inspiration. Art, on the other hand (and the universal value of beauty that follows it around like a shadow, sometimes unacknowledged, but always somehow present) is the first and most important means of communication: the most effective. But above all, art is also the most formidable language testing laboratory, and is capable of imagining not only new concepts to be expressed, but also new ways of expressing them.
At this point there is a recovery of the concept of “beauty”, which once again sees Europe engaged on the front lines. The beauty of Europe has indeed a thousand variations, as many as the local identities of which it consists, each with its own, unique “beauty”. And in order to communicate them, we must determine a value, an idea, or a characterising concept for each, which is sometimes little more than a feeling, an image, or even a flavour. Such as those carried by the works which, year after year, are enriching the heritage of ideas and languages of our prize: in order to establish once again, like in the past, a dialogue between art and values, or rather ethics and aesthetics, under the sign of beauty and the key value of citizenship.