Giuseppe Bertini (1825 - 1898), <em>Dante's Triumph</em>, 1853-1856, Stained glass window of the Dantesque Study, Poldi Pezzoli Museum, Milan | Photo: Wikipedia
A treasure chest in a treasure chest, rife with art and memories - it’s the Dantesque Study of Gian Giacomo Poldi Pezzoli, heart of one of the most beautiful home-museums in Milan. First a bedroom and then the private study of the collector from the 1800s, this precious room is the last glimpse at the original decor. Splendid murales, furnishings and windows inspired by the Middle Ages of Dante, dear to the owner of the house for two reasons - the patriotic ring of the Risorgimento’s High Poet’s work and his destiny of political exile, which he shared with the Count himself. In the room are some of the furnishings designed for Poldi Pezzoli by Giuseppe Bertini and Luigi Scrosati, besides works of art and rare objects, once all gathered together in a rich wunderkammer. There is the Bust of Rosa Trivulzio, mother of the house’s owner, carved from marble by Lorenzo Bartolini - it is said that that Count placed the gold jewellery and cameos once belonging to the noble woman around the statue’s neck. And there is also the Nautilus, a rare conch shell from the Orient that Dutch artisans decorated with silver leafing and filigree, eagles, stems and miniature scenes. However, the piece that most strikes visitors is the multicoloured window with stories from the Divine Comedy - it was admired by the Pre-Raphaelites at the London World’s Fair and it inspired their later works.
An exhibition dedicated to the Dutch artist Magali Reus, winner of the Arnaldo Pomodoro Prize for Sculpture. In her art Reus accumulates images and objects from everyday life, distorting and reinventing them through the construction of meticulous sculptural puzzles.
After the resounding success of the 2023 European tour which sold over 1.6 million tickets and earned widespread acclaim as one of the best shows of the band's career, Bruce Springsteen returns to Milan for two dates at San Siro.
The exhibition reflects on the traditional concept of the vitrine and its centrality in exhibition projects. In relation to the "classical museum display", the display case separates and at the same time exposes the object, offering it for viewing, but creating a barrier for the viewer.
Through a series of installation interventions, spanning works of art and exhibition elements, Haris Epaminonda presents a symbolic journey in comparison with the historical avant-gardes of Futurism.