THIRTY YEARS ON: IS THE WORLD HERITAGE CONVENTION READY FOR THE 2I ST CENTURY?

THIRTY YEARS ON: IS THE WORLD HERITAGE CONVENTION READY FOR THE 2I ST CENTURY? I . INTRODUCTION In 1909, when the 20'h century was still young and Europe had not yet experienced the tragedy of two world wars, the Italian avant-guard artist Tommaso Marinetti published the Manifesto of his new-born movement "Il Futurismo". In flamboyant style and exuberant overtones, Marinetti glorified war as "the sole hygiene of the world". He advocated the destruction of "museums, libraries and academies" as institutions reduced to "cemeteries where dead bodies rest in sinister promiscuity". His agenda was to link art to the pulse of the new technological State. Thus he celebrated progress and action as intrinsic values. A decade later, his ideas would provide the cultural roots of the nascent fascist ideology. Marinetti's Manifesto never became a programme of action. On the contrary, museums have continued to thrive, belying the idea that art can ever be dead. From the devastation brought by two world wars and an infmite number of local wars, much cultural heritage has risen again, like the mythical phoenix from its own ashes. Monuments have been restored, historic sites rebuilt, centres skilfully reconstructed. Since the end of the 20`� century, interest in cultural heritage has further intensified, raising concerns that the pursuit of http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png The Italian Yearbook of International Law Online Brill

THIRTY YEARS ON: IS THE WORLD HERITAGE CONVENTION READY FOR THE 2I ST CENTURY?

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Publisher
Brill
Copyright
Copyright 2003 by Koninklijke Brill NV, Leiden, The Netherlands
ISSN
0391-5107
eISSN
2211-6133
D.O.I.
10.1163/221161302X00020
Publisher site
See Article on Publisher Site

Abstract

I . INTRODUCTION In 1909, when the 20'h century was still young and Europe had not yet experienced the tragedy of two world wars, the Italian avant-guard artist Tommaso Marinetti published the Manifesto of his new-born movement "Il Futurismo". In flamboyant style and exuberant overtones, Marinetti glorified war as "the sole hygiene of the world". He advocated the destruction of "museums, libraries and academies" as institutions reduced to "cemeteries where dead bodies rest in sinister promiscuity". His agenda was to link art to the pulse of the new technological State. Thus he celebrated progress and action as intrinsic values. A decade later, his ideas would provide the cultural roots of the nascent fascist ideology. Marinetti's Manifesto never became a programme of action. On the contrary, museums have continued to thrive, belying the idea that art can ever be dead. From the devastation brought by two world wars and an infmite number of local wars, much cultural heritage has risen again, like the mythical phoenix from its own ashes. Monuments have been restored, historic sites rebuilt, centres skilfully reconstructed. Since the end of the 20`� century, interest in cultural heritage has further intensified, raising concerns that the pursuit of

Journal

The Italian Yearbook of International Law OnlineBrill

Published: Jan 1, 2002

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