Here is another article about the speeches dedicated to designing from the Lectio Pluralis of Arte al Centro 2017. We report the testimony of Marianna Orlotti and Elisa Troiano from CRIPTA747, a centre for art, research and production working in close collaboration with the territory, connecting artistic practice to local manufacturing and craftsmanship.
Marianna Orlotti talked about the beginnings of the centre: “CRIPTA747 was created in 2008 with the main aim of supporting artists, in both their research and production of the works. We started as a project space, which has by definition a limited form and span of life. It has evolved with time, because both the social and political context and the art system have changed. For the past year, in fact, this research space has become a place of production, accommodating artists and researchers through a formula of shared studios.

This evolution was natural and also involved moving a few times: from the first space at Porta Palazzo to a prestigious location within the Galleria Franco Noero at Milan Barriera to the present site at Scalo Vanchiglia, a former industrial district full of artistans’ studios, an area going through a new transformation. This way, we have “opened” the places of research and production usually behind the scene, since in our sector the visibility moment is generally represented by the exhibitions.”

“Only the final part of the project is visible – says Elisa Troiano -, while research and production are usually kept hidden. The project draws therefore attention back to the productive processes and rethinks the modalities of access to thought contents. CRIPTA747 brings to Turin a model of cultural centre inspired by similar institutions operating outside the national context, centres for contemporary arts throughout Europe or the Kunsthalle in German speaking countries.

Valeria Cantoni, moderator of the Lectio Pluralis, invited the spokeswomen to illustrate the model of support of CRIPTA747.
“Up to now – they explained – we have sustained ourselves thanks to funds from public and private institutions. The growth from an experimental to a more “official” and structured form means shifting from a short- to a long-lasting plan. This allows us to open a dialogue with the institutions aside from competitions or grants, aimed at articulating a network with the community of reference.”