In order to understand cultures, we have to look at everyday behaviour, behavioural style. Evidently there are various forms of everyday behaviour. I always say that life is normal, the whole world is normal, yet we have lost our sense of the everyday. I find it hard to understand the notion of culture, it frightens me, but this cannot be said, it is severely prohibited to say it. What is important in architecture is not the building but the organization of space.
For many years I have a constellation in my head that I call Europa Metropolis. It is the largest city in the world with 40 million inhabitants. Its suburbs are called London, Paris and Berlin. It is an immense city connected by a metro, two hours from one urban area to another. Once I proposed Europa Metropolis to the UN, but nobody understood my project, it was too soon. Now we have the means to make it a reality. It is no longer a utopia. Europa Metropolis has a reasonable price, there is no need to build new cities, people can stay where they are, in their old neighbourhoods. There are no objective obstacles to my project, the problem is exclusively political. To still speak of a “centre” in cities like London, Paris or Brussels is no more than property speculation.

In the current exhibition at my museum, specifically at the Kabinetten van de Vleeshal , one part is dedicated to the Soundartmuseum which is essentially a large archive of sound art. It is interesting to have a museum that does not need a building.
The spectator becomes the producer of something and as such the work becomes a mirror. There is no longer a consumption of the work or art, but instead a link is created between what is exhibited and the visitor viewing it.  This is also a way of entering the dimension of time of the construction of the work of art.

We are looking to develop together some reflections on ecology and think of some solutions for the environment. The passage is above all mental. It regards individuals, ethics, our way of seeing the world. Before thinking of solutions to environmental problems we should try to renew our imagination, finding a way to think that is eco-friendly. We should make eco-friendliness our own within what we do, how we think as well as our daily lives. The environment begins in our heads. Everyday we imagine our habitat, we decorate it with many gestures, with many things with which we surround ourselves. We create a relationship with the space around us, with others, a relationship of sharing. All that appears to be a faraway horizon can be a challenge to imagine a different context. We are referring to an idea of ecology that is rather intimate, mental. It is a case of rethinking oneself in relation to the world.
Baruchello, for his project La scorta (The Escort), started off from the idea of recycling, which is something that is far more important than the invention of new objects. Things that would appear finished, exhausted, no longer functional are – with the help too of technique – recuperated and brought back to life under new perspectives. A bicycle that is re-thought by an artist can also have an element of irony. Imagining a politician or an office worker leaving the Ministry and, rather rather than getting into his blue car, getting onto a blue bicycle and cycling away can be funny, but at the same time it brings ecology and power together.  The bicycle like any other object can become something else, it can make a suggestion or, as in this example, it can upset the world of institutions of which we are a part.
Art is a way of seeing, a point of view, a tool for recuperating and appropriating something in order to then be able to turn its usual function upside down. Art creates diversity and of this diversity we are all in need: business, art, the disciplines in charge of energy and engineering. There are certain centres that are now very evolved, but what is missing is the sharing of these experiences. The strength of art is that of upturning habitual situations, convictions and of freeing us from stereotypes.

I would like to hand over the floor to the local entrepreneurs who have been very actively involved in these two bicycle projects. They have participated in this proposal with great spontaneity. There has been a true long-distance collaboration on Baruchello’s project for the creation and installation of La Scorta (Ecologia e Potere) (The Escort (Ecology and Power)) for the Museion in Bolzano.  The same goes for I wanna be Chinese by Rainer Ganahl, already made for Bologna and re-proposed Bolzano.

In producing something together, in being a technical sponsor that makes the material available to the artist, there is a true exchange both in terms of ideas that will influence the final result and in terms of the relationships, even personal ones, that are created thanks to this common enterprise.

These projects that are born around the bicycle are projects for the future, projects that wish to make us think differently, projects that serve to push experience and the use of resources a little.
New platforms are being created and this is very important, above all today in this moment of grave crisis.

How can we combine industry and art?  Especially in our case bringing together industry and art  permitted us to be able to face a problem of resistance against our production linked to nuclear waste.  With the help of an artist we worked on the external aspect of our building  and were able to create an identification of the people with the building. We lessened the gap between the technocratic world of production and the  society. Only art can bridge this kind of gap. We need the creativity  and emotional power of artists.

D/A/C, common artistic denomination is a brand with a precise underlying idea, that of bringing the world of art very concretely into dialogue with the world of business. This could seem to be a format that has already been used, but D/A/C aims to change the balance. Tables are created between artists and producers who are brought into confrontation on the same level in order to reach a common goal.
In some way it is the artist who becomes the sponsor, a sponsor of ideas, of stimuli. In the dialogue, new cues can arise that will go on to influence not only the products but also the internal communication of the companies.
Back to the matter of D/A/C, during these round tables a theme is launched, that of ecology and eco-sustainability.

Very simply, why don’t we form a club? A club in which we all take part and in which payment is not made with money but with ideas. Where  we pleasantly discuss as we have this evening. Let’s draft a statute and then meet again.

Of course the fundamental condition of the club is that which you today represent. This connects with what was said by Jacorossi, that when art enters a business inevitably at the centre must be the man, the woman and this immediately expands the aim, the vision of the club.