ANNOUNCEMENTLenz is one of the winners of the callCulture for all, culture of all‘, promoted by Parma Italian Capital of Culture with the support of the Municipality of Parma and the Institute for artistic, cultural and natural heritage of the Emilia-Romagna Region.


The award ceremony took place in conjunction with the International Museum Day, Monday 18 May, 2020.
theme of the 2020 edition: ‘Museums for equality: diversity and inclusion‘.    

Lenz’s project ‘ART ON ART_ every man is an artist. A digital engagement experience‘. includes the introduction in the museum visit of touch painting sessions (creation of one’s own work on the exhibited artwork through the interposition of a transparent screen that allowsthrough touch and in interactive mode, to draw creating a new digital artwork), with subsequent creation of a Digital Museum of Art Brut, Art on art.  

ABSTRACT Museum accessibility is today a much debated topic, which must take into account different aspects of the usability and heterogeneity of museum audiences, with their differences in needs and satisfaction. Interventions in the direction of improvement imply a change of attitude, with the acquisition of a point of view that can meet diversity, aiming above all at transforming the role of the museum user from a passive receptor of knowledge to an active creator of knowledge, through initiatives that combine health and well-being with museum activities. Starting from these premises, the Lenz Foundation’s project proposal is addressed to everyone but aimed at bringing together people who are usually excluded from museum use (the intellectually – psychically – motor disabled, sensorial disabled, non-Italian speakers, children, elderly) wants to introduce in the visit to the museum touch painting sessions (creation of one’s own work on the exhibited work through the interposition of a transparent screen that allows, through touch and in interactive mode, to draw creating a new digital artwork), with subsequent creation of a Digital Museum of Art Brut “Opera sull’Opera” and annual public exhibition. The path aims to reconfigure the museum as a context of welcome and co-construction of new forms of knowledge, relationships and social practices, open and listening to the community.



Theatre is physical body, the action of the body in the field of a scene creates sense and emotion, empathy, denunciation and renunciation, anthropology and philosophy, history and present, sometimes the future. The human body represents the reflected image of a human body, the actor’s body represents the refraction of another human body, which belongs to another time, another story, another dimension. Its function is sign, language.

Never more than today, at the time of the pandemic, the physical body becomes the essential element to define the behaviors and ethics of the polis, limited or free in movements, defined as a social and cultural subject, individual and/or collective. Then, an economic body, useful for production or temporarily suspended or removed from it.

Who was already on the margins, or without a supporting structure, waits for someone to take care of him after the storm.

The structured theatre or the State. Those who were already struggling to live, hope to survive. The bad economy endures the long times of introspection, of deepening, of the unknown.

However, in the time of living at home, even structured theatre, planned for the long term, endowed with great resources, fears the uncertain, and all the induced activities in its various sectors fear it. Well for Oberdan Forlenza (President Fondazione Teatro Due in Parma )’s five proposals and what the regional councillor for culture Mauro Felicori added, there is a need for proposals and the fear of economic emptiness, of the feeling of imminent poverty more unbearable than the unstructured theatre already knows, must not prevail. The intention to broaden the concept of theatre structures is already emerging, certainly the reference to greater intervention on culture in other countries, such as France and Germany for example, must follow this happy intention at the same time. As well as overcoming the algorithmic rigidity or position rent rigidity that characterizes MiBACT’s intervention.

The time of the pandemic is the time of fear, beyond the all-human hope of getting out of it as soon as possible, but for the theatre? for the language of the theatre? for the theatre of the physical body, the theatre of the human, whether you represent yourself on stage or participate, watching and seeing?

We wrote some time ago: «Perhaps the primary experience of fear should return to man, the lightning actor, the missing hero in the age of virtual superhumans. Man should return to being equal to zero and, as Hölderlin writes, in infinite weakness find his maximum power.

If it is in decomposition/transformation/transfiguration that the work of art travels a true path of light and knowledge, who better than man, and therefore of the artistic form that cannot prescind from its presence – the theatre -, can reaffirm the primacy of being over appearance? Certainly not all theatre but the theatre of false movement. Our artistic experience has drawn us a map that is made up of many dark and obscure paths but where we met true beauty there was the imprint of an uncertain, claudicating, insecure step. A stammering. Whether it was a “View” written in the dark night of Hölderlin or a “flesh, hard rotten flesh -” of a luminous sensitive actress».

This present without a tomorrow, and for the theatre tomorrow is the year to come (if not three years later) requires us to rethink the ways of theatre, understood as performance in theatre buildings or in open spaces, in every way used as theatres; it imposes new theatre practices for the man-actor as well as for the man-spectator.

The physical body is a fundamental element, but equally weak.

In the time of the pandemic every small step must guarantee security, total defense against aggression, guarantee of negativity to the virus. The relationship between director and actor must change, it can include a period of remote trial, study and analysis, but then there will always be a physical place where the human will be fed to other humans, the image will no longer be able to delay the event, even if it now looks beautiful.

And there will be the physical body, and then it will be necessary to defend it from any danger. The effectiveness of the most comprehensive test, the serological one, is still being tested. When the percentage of safety has reached its peak, and the tests have been carried out, only then will it be possible to go back on stage, and only for rehearsals. Among a few, the actors for whom the formula will be valid: risk is part of life.

And so perhaps for the spectators at a distance, with mask and gloves. Reservations with the addition of a medical certificate and finished tests.

The so-called normality, sociality, community will come, but only with the vaccine. Later, science accelerates but needs certainty.

In the meantime welcome to proposals and reflections to rethink an art that will have to be armed with fluidity, difference, lighter in size to better change, better to approach other humans, more ductile to disease, resistance, the new world.

April 2020

Francesco Pititto
Lenz Foundation


Measures to combat the spread of coronavirus: the staff of Lenz Foundation is in a period of smart working.

We can be reached by email at the contacts listed here.

For telephone contacts: + 39 335 609 6220.

Art Bonus

The Art Bonus is a facilitated tax regime for those who support culture with cash donations. This is a tax credit equal to 65% of the liberal cash payments made to cultural enterprises that are part of this project.

Anyone can donate and obtain a 65% tax credit: businesses and private citizens.

Lenz Foundation is also part of the Art Bonus.

This means that if you are a company or a private citizen and want to support us, you will get the expected tax credit.

First of all you must contact us (0521 270141, to express your will in reference to the authorized projects, which are published on the institutional site of the Art Bonus.

Then, you can make the traceable payment (not in cash), with the receipt showing the causal “Art Bonus”, which you will deliver to the accountant.

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