For Giorgio Gregorio Grasso, historian and art critic, art must educate to beauty, inspiring people and inviting them to reflect: "the mayor should return, out of his own pocket, the money spent and bring it to his garden"

The installation  "Tu si 'na cosa grande", dedicated to the city of Naple sby the artist Gaetano Pesce, it is arousing a heated debate. The work, inaugurated in Piazza Municipio on October 9, attracted attention for its phallic form, which has aroused irony, controversy and criticism from citizens, tourists and public figures. The costs of the installation are also a cause for concern: 180,000 euros, of which 160,000 financed by t he Campania Region. Among the critics, the voices of feminist associations were raised, who sent a letter to Mayor Gaetano Manfredi asking for the removal of the work, accusing it of being a symbol of “failure” and promoting a sexist vision of culture. To these controversies are added the statements of the art critic Giorgio Gregorio Grasso, who, interviewed, did not spare harsh words towards the choice to exhibit such a controversial work.

Interview with Giorgio Gregorio Grasso: "Public art must elevate, not scandalize"

Professor Grasso, what do you think of the work 'Tu si 'na cosa grande' by Gaetano Pesce, recently installed in Piazza Municipio in Naples?

“The administrators of the municipality of Naples have been very good at ridiculing one of the most beautiful cities in the world. Naples did not deserve such an affront, the Neapolitans did not deserve such an affront, art did not deserve such an affront and, finally, Pulcinella did not deserve such an affront. Spending public money to exhibit such a work is an act that should lead to the immediate resignation of the city's cultural centerer.”

In your opinion, what role should public art have in cities?

“Public art has extraordinary power, but also a huge responsibility. It can do great damage, not only to urban aesthetics, but also to people's minds. Art has the power to transform urban spaces and enrich everyday life, but it must do so with sensitivity and intelligence. Public art must never be vulgar or scandalous. Its job is to educate to beauty, inspire and make us reflect. A public work of art, especially in a city like Naples, should be a beacon of culture and creativity, not a provocation for its own self."

Can you give us some examples of successful public art?

“Of course. An example of all is the project of the Murales of Naples, which has been able to transform degraded neighborhoods into spaces of life and color. These works not only embellish public spaces, but create a sense of belonging, unite communities and stimulate the creativity of those who live in those spaces. The same goes for the famous Banksy mural in Bristol or the New York High Line project. They are works that enrich the urban fabric and bring a positive and inclusive message.”

What would you say to the administrators who chose this installation?

“I would tell them to rethink the meaning of public art. It must be educational, inspiring, inclusive. Every city should invest in artistic initiatives that enrich not only the spaces, but also the lives of the people who live there. An installation like this, on the other hand, represents a waste of public money. The mayor should return to the citizens the funds spent and bring this installation into his private garden"

The work of Gaetano Pesce, both celebrated and criticized, continues to be discussed. The open debate on the use of public funds and the opportunity to promote such a divisive art form highlights the complexity of the role that contemporary art plays in the public space. While some defend it as a form of provocative expression, others, such as prof. Fat, they believe that public art must always aim at elevating the human spirit and not to arouse scandal.