The cultural exception: art and shared wealth

Some time ago, the charming French Minister of Culture Aurelie Filippetti issued a statement that raised a small dialectical earthquake in the EU institutional environment in a short time. She argued that the cultural product cannot and should not be subject to the same market rules and logics that apply to all other goods.

Metaphors aside, culture and its industry had to be kept outside the scope of the free trade agreements between Europe and the United States.
Is this a new form of protectionism against the U.S. supremacy in the field of entertainment or a proud claim of a different European vision about the role and social function of culture? For the record, the French minister eventually succeeded, gaining also the European Parliament’s support, but the question remains unanswered.
It is true that nowadays culture, in its various forms, is fully inserted within the latest economic theories as an actual wealth parameter. That’s why, as the noblest way of expression of a culture, art presents itself as a true factor which enhances products, services and consumption goods that, as the cultural ones, favours a less visible but certainly more durable progress.
In other words, art can and should be able to produce shared wealth. To do so, it must be made available to as many people as possible. Briefly, that’s the goal of the Blumm Prize, which is taking up this challenge side by side with the institutional world, by dealing with major collective values and making them the privileged object of an innovative and brave communication, always ethically aware of its own role.

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