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Personally, I have to say, 
I love sleeping a lot.

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I love making that transition
to another world and dreaming.

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And what I love the most is waking up

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with some ideas
that I took from the dream.

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A dream that normally opens new doors,
so I can face new possibilities:

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how can one look at someonee's life?

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How will I consider the next situation?

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And so waking up, for me,
means getting on the move,

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choosing the new path to take today.

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To orient oneself,
to orient oneself towards the new,

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not on the same old road.

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So look for a bit
where a new door opens up,

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and what new goal it leads me to.

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And that also means deciding,

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among the many possibilities
brought about by a new day -

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after a good night's sleep, of course.

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Open the doors, open up to new ideas,
and open up to the world.

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Open up to creativity:
that's a bit of my life purpose.

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Also, it's not just about me:

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because I can do almost anything,
I can be creative.

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But I fulfill a social purpose
only if ideas are shared.

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If many others participate
to what you've developed.

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This is Mantua.

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We're talking about a city
that for decades was a "Sleeping Beauty".

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Sleeping well is fine,
but it can be too much.

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Beautiful - beauty also means beautiful,

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but for whom?

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For a few?

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For many?

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Too many, maybe?

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When I was called
to direct the largest complex,

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the museum complex of Palazzo Ducale,
here in Mantua city,

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I said no: I'm not the prince
kissing that sleeping beauty.

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I appeal to the professionals
in the field, the creative minds.

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These are the artists,

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these are the contemporary artists
who work every day on creativity.

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In Mantua we have the strongest example,
we have almost a magic word,

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called Gonzaga.

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The family that turned little Mantua
into a great Mantua.

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Here is a view

41
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of our very famous
Bridal Chamber, "camera picta",

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because it is just painted
with a unique creativity.

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For over two centuries, the Gonzaga family

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always focused on creativity
and always brought in new ideas.

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They were always aware:
what is the latest fashion?

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Isabella d'Este as a great
style icon of her time.

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Always new artists: they championed
Pisanello, for instance,

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with his large drawings on the wall,
a new revolutionary idea,

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Andrea Mantegna, Giulio Romano -
there are many to mention.

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But you have to understand
that all these artists,

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who now we consider great masters

52
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in their time were contemporary,
and also much discussed.

53
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Even as foreigners:

54
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Rubens, was "the Italian Flemish",
not everyone accepted him immediately.

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Monteverdi, too, is one from Cremona.

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(Laughter)

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He became the great Monteverdi in Mantua,
before dying in Venice.

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So you can awaken a city with art:

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Mantua is the most beautiful example

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because what Gonzagas understood

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is that image survives.

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What gives strength, for a very long time,

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is the image, it is the composition
and involvement in the image.

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Let's talk about other cities:

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you all know it, this is
the most visited museum in Italy.

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It's called the Uffizi: what does it mean?

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It first wasn't meant to be a museum,
but a redfile building.

68
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They did "Uffizi" [Offices], here.

69
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But in the gallery of this building

70
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few paintings were exhibited,
and then gradually other paintings

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in others floors too.

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And the Uffizi, over time, become a museum

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thanks to a decision
to focus precisely on art

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creating an environment
that's now one of the most visited places.

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Let's take another example:

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Rome, also well known,
with the largest amphitheatre.

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It's hard to imagine [that] for centuries,

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this great amphitheater
was simply a repository.

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It has been used as, say,
a free source

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for construction sites
in current buildings.

81
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And then, at some point,
someone said, "No, come on.

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We have to take care of this,
we must reassess,

83
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we must awaken this monument

84
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because it is the very center
of ancient Rome."

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So, it's about a city that's much bigger
than the city we live in now.

86
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Today, the Colosseum, as you know,

87
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is one of the most visited monuments,
all over Italy and the world.

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Another example is Venice.

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Venice, at the end
of the eighteenth century

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was just the casino of Europe.

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One could even say the brothel of Europe.

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Forbidden to minors,
because it was a bit of a sin city.

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But little by little, art became
more important here as well.

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The interest on gambling
went progressively down,

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in favour of Tiziano and Tintoretto.

96
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But this was not enough for the Venetians

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who were always very keen
on their international identity.

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They created a fabulous idea:
1895, the first Biennale.

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Not Biennial of the past art:
of contemporary art!

100
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So a direct comparison, in a city
almost museum-like, every two years.

101
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This concept - now, this year,
we live another experience:

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many come,

103
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many meet up here

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to deal with the current creativity.

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Great idea, great success.

106
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Let's talk about
another place, the Louvre.

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The Louvre, as you know,
was the home of the French royal family.

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Then, let's say, the center of power.

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The French Revolution changed everything.

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They decided: we no longer have the king,

111
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but we turn this building
into a museum for all citizens

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who have the right to approach
the creativity of the past.

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A long period, a museum,

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and then a bit of a crisis
because it was a bit stuck in the past.

115
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And some people thought,
what can we do

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to take a new step
towards our current life?

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And they built the pyramid,

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this intervention
of contemporary architecture

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that gave another center of attention

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not only spatial but also spiritual

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for this centre.

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Today, as you know, the Louvre
is the most visited museum in the world.

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Think- Austria hosts
eight million residents.

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All the inhabitants of Austria
come to visit the Louvre every year.

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Let’s talk about London, a huge city:
so many problems, countless citizens.

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Many places, even a British Museum
as their traditional museum.

127
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But it was disconnected to young people:

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so the Tate Modern was built.

129
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And it was not decided to create
a new museum, quite the opposite:

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an existing structure was used

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and transformed it into a museum
of contemporary art.

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And now, all the young people

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are coming to visit this factory.

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Young people of age
but also of brain, of course.

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Let’s talk about Barcelona,
also a very interesting city,

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with many rhythms and problems.

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When they suggested the idea
to make a new museum for contemporary art,

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they didn't put it
on the most prestigious square.

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They took it and brought it,
and created it,

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right in the middle
of a very problematic environment,

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both from a social
and economic perspective.

142
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And with this investment everything -

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not all the problems,
but many problems have been solved.

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And then one must
always quote the Bilbao effect.

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I visited Bilbao,

146
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and I can say that it wasn't
a nice city, the opposite,

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I do not want to say bad words.

148
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But this brilliant idea
of bringing a museum,

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with a great name as Guggenheim,
right into the city,

150
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and then creating an architecture
that is a point of attraction itself,

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changed the life in the city.

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If you go to Bilbao today,
you'll find not just tourists

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but a city that's completely awakened.

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Wonderful.

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My last thought:

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now we understand

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that you can awaken with art, every day.

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From the biggest [town] to the smallest.

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But what I would like to give you is,
somewhat as a message,

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that this is your right.

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When they draw the universal human rights,

162
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after the World War II,

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they also added article 27.

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You can read it:

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it is a right for us to participate,

166
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to have access to contemporaneity,
to have access to creativity.

167
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So let's exercise this right.

168
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Thank you.

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(Applause)