The Chapel of Sant’Aquilino Returns to its Former Glory
排程: Mon - Fri 8.30 am - 6.30 pm I Sat - Sun 9 am - 7 pm
票務: Free admission
電子郵件:
位置: Basilica di San Lorenzo Maggiore
地址: Corso di Porta Ticinese 35
“One of the most beautiful churches in the world” - that is how the writers of the Middle Ages saw the Basilica di San Lorenzo Maggiore, extraordinary witness to the years in which Milan was the capital of the western Roman Empire. We’re accustomed to seeing it from outside, walking through its columns which have become emblematic of the city’s nightlife and, yet, San Lorenzo holds a surprising treasure - the Sant’Aquilino Chapel, having just undergone a complex series of renovations. Architecture, murals and precious mosaics, all compelling witnesses to paleo-Christian Roman Milan. The origins of the Chapel pre-date those of the Basilica, born as an imperial mausoleum, probably thanks to Queen Galla Placidia, it was then dedicated to San Genesio and, then, to the priest and Martyr Sant’Aquilino, whose remains are still held there in a silver and quartz urn. Originally octagonal in structure, broken up by niches, with frescoes in the apse and the stucchi of the dome, visiting the Chapel is like traveling back in time. However, nothing compares to the splendour of the mosaics which originally almost entirely covered the walls with depictions of Celestial Jerusalem, life-size depictions of the Patriarchs of Israel, the Apostles and the Martyrs, among golden pillars lined with gemstones.
A mestizo spirit hovers in the art of Cuban Luis Gómez Armenteros
An exhibition that is the result of work matured by the artist during his residency in Milan. The themes he addresses concern the role of the artist, society and the inevitable questions surrounding art and forms of consumption.
Twentieth Century Art. Futurism and Graffiti, two Movements compared
The Italian Futurism of the early 1900s and the New York Graffiti art born in the 1970s share the same conception of the future as a continuous energy, an eternal present in which the creative act becomes the instrument with which the artist represents the movement, the speed, and the flow of his era, becoming a witness of his time.
Atoui explores the acoustic properties and specific ways in which elements such as bronze, water, glass and stone transmit and reflect sound. Using electronic instruments and custom-built computers, the artist reflects on current social and political realities.
Through 73 completely unpublished works, the exhibition is a story of the friendship, collaboration and deep relationship that united Mario Schifano to the collector and poet Gianni Malabarba, to whose family the works on display have always belonged.
