Abstract

The framework in which, better than in any other, cultural complexity becomes clear as a network of perspectives is the city: it is here that the greatest variety of subcultures, together with the widest range of contrasting modalities, seems able to handle its meaning. The city is at the same time an active place of cultural production and a passive and active place of memory keeping. It fuels styles and models of sensitivity also, and especially, through art and architecture. Therefore, it becomes itself a cultural model able to orient taste, but also to continually disorient it through agency. Starting from the revitalization of the cultural capital of the cities, art can play the important role of cultural magnet by catalyzing moods and emotions, conveying otherwise chaotic needs and languages, promoting new tolerance and social and cultural integration. However, in the meantime, from a secluded and distinct place that organizes the use of cultural and artistic products within recognizable boundaries, the city is becoming an undifferentiated place, a city-beyond, scattered and/or boundless. Characterized by the undifferentiated and the mutant, the uncertain and the liquid, the deformable and the relative, the space of art perception will be rethought within and without the city.