Patrizia Asproni leaves the Marini Museum. In the public, second terms do not evolve

Patrizia Asproni is leaving the leadership of the Marino Marini Museum Foundation in Florence: the museum’s new president, chosen yesterday by the new board of directors, consisting of Anna Claudia Conte, Sergio Risaliti and Francesco Neri, appointed by the City of Florence, and Carlo Ferdinando Carnacini , Barbara Cinelli and Silvia Evangelisti, appointed by the Marino Marini Foundation of Pistoia, is Carlo Ferdinando Carnacini, who is also president of the Marino Marini Foundation of Pistoia. Auditors Adriano Moracci, Cristina Marchese and Alberto Pecori were confirmed.

Asproni, at the helm of the Foundation since 2016, had already communicated more than a year ago his unwillingness to renew his mandate in order to devote himself to supervening commitments. Today, therefore, Asproni ends his experience at the top of the museum in Piazza San Pancrazio, which brings together the works of the Pistoiese sculptor, one of the greatest Italian artists of the 20th century.

Asproni’s achievements include the decision to create the figure of the"visiting director" (an annual director coming from an international museum institution and in charge of exhibition programming), the promotion of the Playable Museum Award (the international call dedicated to projects capable of making museums more engaging and interactive), and the strengthening of the museum’s image with, among other things, highly participatory events aimed at all types of audiences, especially young people and educated tourism.

“With the work of Kinder Art - Apprentice Artists, the new wing dedicated to the educational sector,” comments Asproni, “we have laid the foundation for the most challenging project of the Marini Museum. I think this is a suitable opportunity to conclude my civil service (for free, ed.) as president of the Marini San Pancrazio Foundation. In more than 6 years, including 2 and a half years of compulsory closure, we have relaunched with the 3 prestigious visiting directors the knowledge of the Museum in Italy and abroad, with the organization of as many as 18 exhibitions and 123 conferences, with more than 60 thousand visitors and the major renovation and air conditioning works to improve the usability of the spaces, with a closing of the mandate budget with an important positive surplus and the total zeroing of the debt. I believe that I have expended all my energies and skills to transform the Museum into a dynamic and authoritative space, and I believe that today the image of its extraordinary contemporary originality has emerged revitalized and strengthened. We are therefore at an important turning point, and the Museum will need to get the funding it deserves to best pursue its mission.”

“I am convinced,” Asproni added, “that in public institutions second terms serve neither evolution nor the consolidation of objectives, but are only periods of penalizing immobility in a context of evolution such as the one we have today. The typically Italian immobility and occupation of chairs to the bitter end has devastating effects on culture, especially at a time like this, when there is a need for transformation and dynamism. Energies need to be put back into circulation. Therefore, leaving the role is for me an act of respect toward the institution, a choice I believe in to the core, a necessary decision to continue thinking in creative terms. I will continue my commitment on the cultural promotion front by devoting myself to other assignments and in particular to the Industry and Culture Foundation of which I am president and to the new European assignment in the Horizon program.”

Pictured: Patrizia Asproni

Patrizia Asproni leaves the Marini Museum. In the public, second terms do not evolve

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