Rimini and Romagna are candidates for Italian Capital of Culture 2026
“Vieni oltre” or “Come over” is the translation of a dry dialect Vin olta, univocal in meaning and possibly changeable in tone and posture of the person who pronounces it. Don’t be fooled by the obvious lack of grammar, a sign if anything of a city like a “mess”, more inclined to the anarchy of a creative disorder than to an ordered insignificance. For us, that dialectal origin is not accidental, it is the language of mothers and fathers, full of feeling, but at the same time the dialect as an unmistakable trait of a “reminidity” which represents the most pervasive modern content of our candidacy..
“Vieni oltre” is a call to itself, an almost peremptory invitation from someone who marks his centrality with roots well planted in a two-thousand-year past, but in doing so, that invitation seems to show that it takes you far away, into that area of the imagination, of a provincial city that Federico Fellini made familiar at every latitude of the planet. As if to say that that beyond is rather the promise of an elsewhere, physical, virtual or literary, it doesn’t matter. It is always an elsewhere of freedom for all the hemispheres that this city welcomes.
Here you can find in the same gallery of identifying images, the sumptuousness of a Verdi theater and some trendy outposts such as the Slego and the Paradiso, the Arch of Augustus combined with the irreverent images of Maurizio Cattelan, the Trecento Rimini and the world of night, the white marble of Leon Battista Alberti’s Temple and the alienating black and white dropout images of Marco Pesaresi, Ariminum and Teutonen Grill.
“Vieni oltre” seems here to renew its invitation not to stop at appearances and to continue with us to discover the co-presence of all the multi-dimensional ramifications that our city hosts and lovingly guards, perhaps the decisive and non-replicable key to our candidacy. Now in fact, moving in the network of a huge cultural heritage, all together these hemispheres are rewriting a new story, in a single score, where fortissimos alternate with silences and the bright colors of summer are contrasted with the gray of the mists and fog, to the noisy masses the solitude of the body, admirably transfigured in its wear and tear by a large and rooted community of actors, where cultured and popular intersect and enrich each other, where millenary history and modernity, the citizenship of the digital revolution and the magnificence of the Malatesta lands, the immaterial dimension and the new physical places of culture, the so-called “high” and the supposed “low”, interact with each other and follow one another like waves on the sea, one and the other giving each other meaning and form.