The D/A/C project constructs a network of connections around a possible relationship between artists and entrepreneurs, that is, somehow the idea that artists on one hand and entrepreneurs on the other can find a common stimulus. Art should not be limited to its usual modalities, modalities that make it wither. Business, above all in times of crisis, can find new strength in art. This is the basic idea of D/A/C.
In Anacapri, this D/A/C is not only a round table, in fact today we don’t even have a table, instead there is a meeting around an exhibition. So for the first time a D/A/C meeting is held in the presence of a series of works and research that are presented precisely here in Anacapri.
Here today there are various people present, some of whom have set up the D/A/C: Mario and Dora Pieroni who have worked on this project for years and in various stages, alongside Fabrice Hyber. The adventure began in the mid-90s. Then for this meeting we have called upon some locals, people who in Naples have gone down similar roads. Today it is a pleasure to meet up, to get to know each other, each person bringing their own experience, amid these works of art. I should first of all give thanks to Federico Guiscardo’s hospitality for having us in his garden in the CapriClou gallery and for opening a place like Capri that is not usually open to this kind of thing, that is presenting projects that are not quite works of art but rather prototypes, ideas, attempts. I would like to hand the floor over first to Fabrice Hyber.

It’s interesting that you started in 94 and Giusi Laurino started her Fabrica del lunedì in 95 in Naples. Perhaps it wasn’t the same concept. What has changed in terms of economic situation since that period, I mean, when we look at it today? Has something changed?

The question is important and I would perhaps like to ask Valerie about this aspect. I would like to introduce Valérie who is the director of the HEC art centre in Paris and who has collaborated with us in setting up this exhibition. There is also the educational side, and as such the university. What has this experience of creating an art centre been like and what is the value of art in a place of learning like HEC?

I wanted to ask Dora and Mario if you would like to tell us about the experience of D/A/C, of this network that you’re creating. We have seen that in French culture there is the presence of this Ministry, these structures that supervise, oversee, that work with the aim of moving away from French centralism towards a more international circulation, while in Italy things are rather different in this sense. In your experience, what do you think of this situation?

I would like to ask Fabrice something: with a commission is it you who imposes something on the industry or rather the industry that asks something of you and you who switches roles?

A commission is a stimulating moment. I would like to ask Benjamin to step in, Benjamin who is also in that Ministry Commission for the relationship between art and industry, but who also works for himself on that relationship, carrying out historical studies on the theme. How does an artist of your generation who knows this relationship well work on this? Is it a treasure to be found, an example to develop? In which direction do we go today regarding a museum system that is completely different?

There is another aspect that interests me, that is the exhibitive space. Here we are inside a showcase such as Capri. Normally the artist creates works and his dream is to display it in a museum. In this artists/industrial production encounter, artistic space often becomes something else. Not only the museum, the Kunsthalle, there is also the market, the place of consumption, auctions, etc…

A meeting for creating objects of a particular statute which then however have to find space, a situation, as we were saying with Giusi. After LaFabbrica del Lunedì you created this other reality, La Fabbrica delle Arti which was also an educative space.

In the 60s there was this idea of multiples having to constitute a democratic art, but that was different, it wasn’t tied to production.

Athina, as an artist you also participated in the D/A/C meeting at the HEC in Paris. Would you like to say something on behalf of the artists.

I would like to ask Fabrice just one more question. Has the artistic process in the encounter with industrial production gone through a mutation? Has this given rise to another process?

I thank everyone for coming and having participated in this D/A/Cmeetingin Capri that has for the first time taken the form of an exhibition, in a space that is presented for the first time on this incredible island. We now close this discussion and open the exhibition. We close the D/A/C and open it.