{"id":40978,"date":"2014-04-17T00:45:30","date_gmt":"2014-04-16T22:45:30","guid":{"rendered":"http:\/\/www.gdapress.it\/it\/?p=40978"},"modified":"2014-04-17T00:45:30","modified_gmt":"2014-04-16T22:45:30","slug":"milano-gallerie-ditalia-galleria-san-fedele-chiesa-di-san-fedele-mostra-oltre-le-soglie-dellinvisibile","status":"publish","type":"post","link":"https:\/\/www.gdapress.it\/it\/index.php\/40978\/arte\/milano-gallerie-ditalia-galleria-san-fedele-chiesa-di-san-fedele-mostra-oltre-le-soglie-dellinvisibile.html","title":{"rendered":"Milano, Gallerie d’Italia – Galleria San Fedele – Chiesa di San Fedele | Mostra “Oltre. Le soglie dell’invisibile”"},"content":{"rendered":"
\n

Intesa <\/span>Sanpaolo <\/span><\/b>e <\/span>Fondazione <\/span>Culturale <\/span>San <\/span>Fedele<\/b>, <\/span>presentano<\/span> <\/span>Oltre.<\/i><\/b><\/span> <\/span><\/i><\/b>Le<\/span>soglie <\/span>dell’invisibile<\/i><\/b>, <\/span>una <\/span>mostra <\/span>pensata <\/span>per <\/span>indagare<\/span> <\/span>il <\/span>tema <\/span>del <\/span>trascendente <\/span>attraverso <\/span>un <\/span>percorso<\/span><\/span> <\/span>espositivo<\/span>che <\/span>pone <\/span>in <\/span>dialogo <\/span>arte <\/span>di <\/span>varie <\/span>epoche <\/span>e <\/span>connotazioni <\/span>culturali. <\/span>L<\/span>’esposizione <\/span>si <\/span>apr<\/span>e <\/span>oggi <\/span>al <\/span>pubblico <\/span>fino <\/span>al <\/span>29<\/b><\/span>giugno <\/span>2014 <\/span>presso<\/span> <\/span>gli <\/span>spazi <\/span>delle <\/span>Gallerie <\/span>d’Italia <\/span>– <\/span>Piazza <\/span>Scala, <\/span>della <\/span>Galleria<\/b> <\/span><\/b>San <\/span>Fedele <\/span>e <\/span>della<\/span>Chiesa <\/span>di <\/span>San <\/span>Fedele<\/b>.<\/span><\/font><\/p>\n

 <\/font><\/span><\/p>\n

La <\/span>mostra <\/span>è <\/span>a <\/span>cura <\/span>di <\/span>Andrea<\/span> <\/span>Dall’Asta <\/span>S.J.<\/b>, <\/span>direttor<\/span>e<\/span> <\/span>della <\/span>Galleria <\/span>San <\/span>Fedele, <\/span>e <\/span>di <\/span>Francesco<\/b><\/span> <\/span><\/b>T<\/span><\/b>edeschi<\/span><\/b>,<\/span>curator<\/span>e <\/span>della <\/span>sezione <\/span>del <\/span>Novecento <\/span>delle <\/span>Gallerie <\/span>di <\/span>Piazza <\/span>Scala.<\/font><\/p>\n

 <\/font><\/span><\/p>\n

Delle <\/span><\/span>42 <\/span>opere<\/span> <\/span>in <\/span>mostra<\/span><\/b>, <\/span>provenienti<\/span> <\/span>dalle <\/span>raccolte <\/span>Intesa <\/span>Sanpaolo, <\/span>da <\/span>altre<\/span> <\/span>collezioni <\/span>italiane <\/span>e <\/span>da <\/span>prestiti<\/span><\/span>concessi <\/span>dagli <\/span>stessi <\/span>artisti <\/span>coinvolti, <\/span>due <\/span>sono <\/span>state <\/span>ideate <\/span>appositamente <\/span>per <\/span>il <\/span>progetto:<\/span> <\/span>la <\/span>scultura <\/span>diHidetoshi <\/span>Nagasawa, <\/span>che <\/span>interpreta<\/span> <\/span>la <\/span>figura <\/span>simbolica <\/span>dell’<\/span>Axis <\/span>mundi <\/span><\/span><\/i>– <\/span>in <\/span>diverse <\/span>religioni<\/span> <\/span>collegamento<\/span> <\/span>tra <\/span>Cielo,<\/span>Terra<\/span> <\/span>e <\/span>Inferi <\/span>– <\/span>e <\/span>la <\/span>Corona <\/span>di <\/span>spine <\/span><\/span><\/i>di <\/span>Claudio <\/span>Parmiggiani, <\/span>uno <\/span>dei <\/span>rari <\/span>interventi <\/span>in <\/span>Italia <\/span>di <\/span>arte <\/span>sacra, <\/span>pensato <\/span>da<\/span>un <\/span>artista <\/span>per <\/span>una <\/span>chiesa, <\/span>partendo <\/span>da <\/span>una <\/span>riflessione <\/span>biblica <\/span>e <\/span>teologica.<\/font><\/p>\n

 <\/font><\/span><\/p>\n

Oltre. <\/span>Le <\/span>soglie <\/span>dell’invisibile <\/span><\/span><\/i><\/b>costruisce <\/span>un <\/span>dialogo <\/span>tra <\/span>autori <\/span>emblematici <\/span>della <\/span>contemporaneità <\/span>e<\/span>rappresentazioni<\/span> <\/span>storiche <\/span>di <\/span>soggetti <\/span>religiosi<\/span> <\/span>attraverso <\/span>accostamenti <\/span>tematici, <\/span>in <\/span>un <\/span>dialogo <\/span>tra <\/span>arte <\/span>antica<\/span> <\/span>e<\/span>contemporanea <\/span>che <\/span>intende <\/span>mostrare<\/span> <\/span>la <\/span>continuità <\/span>di <\/span>“valori” <\/span>tra <\/span>epoche, <\/span>culture<\/span> <\/span>e <\/span>modalità <\/span>espressive<\/span> <\/span>diverse.<\/span>Le <\/span>opere<\/span> <\/span>sviluppano <\/span>così <\/span>una <\/span>narrazione, <\/span>tramite <\/span>cui <\/span>interpretare<\/span> <\/span>tensioni <\/span>e <\/span>direzioni<\/span> <\/span>di <\/span>lettura <\/span>che <\/span>presentano<\/span>risvolti <\/span>iconografici <\/span>e <\/span>di <\/span>contenuto <\/span>af<\/span>fini,<\/span> <\/span>pur <\/span>attraverso <\/span>linguaggi <\/span>distanti.<\/span><\/font><\/p>\n

 <\/font><\/span><\/p>\n

L’<\/span>Oltre<\/span><\/i><\/b> <\/span><\/i><\/b>rimanda <\/span>al <\/span>limite, <\/span>al <\/span>confine, <\/span>alla <\/span>possibilità <\/span>di <\/span>superare<\/span> <\/span>barriere,<\/span> <\/span>interiori <\/span>ed <\/span>esteriori, <\/span>ma <\/span>anche<\/span> <\/span>a <\/span>ciò <\/span>che<\/span>è <\/span>inafferrabile,<\/span> <\/span>inaccessibile, <\/span>indefinibile, <\/span>che <\/span>si <\/span>sottrae <\/span>al <\/span>possesso <\/span>e <\/span>alla <\/span>dominazione <\/span>dell’uomo. <\/span>È <\/span>questa <\/span>una<\/span>dimensione, <\/span>che <\/span>se <\/span>l’arte <\/span>antica <\/span>ha <\/span>sviluppato <\/span>percorrendo<\/span> <\/span>soprattutto <\/span>le <\/span>strade <\/span>della <\/span>figurazione <\/span>narrativa, <\/span>in<\/span>una <\/span>continua <\/span>reinterpretazione<\/span> <\/span>dei <\/span>racconti <\/span>biblici, <\/span>l’arte <\/span>contemporanea <\/span>ha <\/span>invece <\/span>indagato <\/span>esplorando <\/span>nuove<\/span>forme <\/span>espressive,<\/span> <\/span>come <\/span>quelle <\/span>legate <\/span>all’astrazione.<\/font><\/p>\n<\/div>\n



\n\t<\/span><\/font><\/p>\n

Il <\/span>percorso<\/span> <\/span>espositivo <\/span>prende<\/span> <\/span>avvio <\/span>nelle <\/span>Gallerie <\/span>d’Italia <\/span>– <\/span>Piazza <\/span>Scala <\/span><\/b>e <\/span>si <\/span>apr<\/span>e<\/span> <\/span>con <\/span>la <\/span>sezione <\/span>dedicata<\/span> <\/span>al<\/span>tema <\/span>Aspirazioni <\/span>d’infinito<\/i>, <\/span>in <\/span>cui <\/span>sono <\/span>presentate<\/span> <\/span>opere<\/span> <\/span>di <\/span>Lucio <\/span>Fontana <\/span><\/b>– <\/span>del <\/span>quale <\/span>La <\/span>fine <\/span>di <\/span>Dio <\/span><\/i>(1963) <\/span>inprestito<\/span> <\/span>dalla <\/span>Fondazione <\/span>Lucio <\/span>Fontana <\/span>– <\/span>Alberto <\/span>Burri <\/span><\/b>e <\/span>Giuseppe <\/span>Santomaso<\/b>, <\/span>accanto <\/span>ad <\/span>alcune <\/span>icone<\/b><\/span>russe<\/b>, <\/span>datate <\/span>dal <\/span>XIII <\/span>al <\/span>XVIII <\/span>secolo, <\/span>provenienti<\/span> <\/span>dalla <\/span>collezione <\/span>Intesa <\/span>Sanpaolo <\/span>conservata <\/span>nelle <\/span>Gallerie <\/span>di<\/span>Palazzo <\/span>Leoni <\/span>Montanari <\/span>a <\/span>Vicenza.<\/font><\/p>\n

 <\/font><\/span><\/p>\n

Il <\/span>secondo <\/span>momento <\/span>della <\/span>mostra, <\/span>Tra<\/span> <\/span>Terra<\/span> <\/span>e <\/span>Cielo<\/i>, <\/span>si <\/span>focalizza <\/span>invece <\/span>sulla <\/span>tematica <\/span>del <\/span>dialogo-passaggio<\/span> <\/span>dalla<\/span>dimensione <\/span>terrena<\/span> <\/span>a <\/span>quella <\/span>celeste, <\/span>sviluppandosi <\/span>intorno <\/span>alla <\/span>scultura <\/span>di <\/span>Hidetoshi <\/span>Nagasawa <\/span><\/b>e <\/span>al <\/span>grande<\/span>dipinto <\/span>di <\/span>Mario <\/span>Sironi<\/span> <\/span><\/b>Composizione <\/span>(Uomo <\/span>con <\/span>vanga) <\/span><\/i>(1928), <\/span>dalla <\/span>collezione <\/span>di <\/span>Confagricoltura <\/span>Milano <\/span>Lodi <\/span>e<\/span>Monza <\/span>Brianza.<\/font><\/p>\n

 <\/font><\/span><\/p>\n

La <\/span>mostra <\/span>prosegue<\/span> <\/span>presso<\/span> <\/span>la <\/span><\/span>Galleria <\/span>San <\/span>Fedele <\/span><\/span><\/b>con <\/span>la <\/span>sezione <\/span><\/span>Per <\/span>grazia <\/span>ricevuta<\/span><\/i>, <\/span>dove <\/span>si <\/span>articola <\/span>un<\/span>confronto<\/span> <\/span>serrato <\/span>tra <\/span>più <\/span>di <\/span>venti <\/span>ex <\/span>voto <\/span>(dal <\/span>XIV <\/span>al <\/span>XX <\/span>secolo) <\/span>– <\/span>appartenenti <\/span>alla <\/span>collezione <\/span>Fondazione<\/span><\/font><\/p>\n

P<\/span>.G.R. <\/span>– <\/span>Per <\/span>Grazie <\/span>Ricevute, <\/span>tra <\/span>le <\/span>maggiori <\/span>esistenti <\/span>– <\/span>e <\/span>una <\/span>serie <\/span>di <\/span>oper<\/span>e <\/span>di <\/span><\/span>Mimmo <\/span>Paladino<\/span><\/b>, <\/span>raf<\/span>finate<\/span>reinterpretazioni<\/span> di <\/span>alcuni <\/span>aspetti legati <\/span>alla <\/span>tradizione popolare.<\/span> <\/span>Si <\/span>continua <\/span>con la <\/span>sezione <\/span><\/span>Nella luce <\/span>divina<\/span><\/i>,<\/span> <\/span>una<\/span>riflessione <\/span>sulla <\/span>luce <\/span>– <\/span>simbolo <\/span>di <\/span>trascendenza <\/span>– <\/span>e <\/span>sulla <\/span>sua <\/span>rappresentazione,<\/span> <\/span>attraverso <\/span>l’accostamento <\/span>di <\/span>due<\/span>tavole <\/span>medievali <\/span>(l’Incoronazione <\/span>della <\/span>V<\/span>ergine<\/span><\/span><\/i>,<\/span> <\/span>attribuita <\/span>a <\/span>Lorenzo<\/span> <\/span>di <\/span>Niccolò <\/span>Gerini, <\/span>della <\/span>seconda<\/span> <\/span>metà <\/span>del<\/span>Tr<\/span>ecento<\/span> <\/span>– <\/span>dalla <\/span>collezione <\/span>della <\/span>Cassa <\/span>di <\/span>Risparmio <\/span>di <\/span>Pistoia <\/span>e <\/span>della <\/span>Lucchesia <\/span>– <\/span>e <\/span>Storie <\/span>del <\/span>Battista<\/span><\/i>, <\/span>di <\/span>autore<\/span><\/span>ignoto, <\/span>1300-1330) <\/span>e <\/span>alcuni <\/span>dipinti <\/span>di <\/span>Ettore<\/span><\/b> <\/span><\/b>Spalletti<\/span><\/b>, <\/span>artista <\/span>che <\/span>da <\/span>sempre<\/span> <\/span>concentra<\/span> <\/span>la <\/span>propria<\/span> <\/span>attenzione<\/span>intorno <\/span>al <\/span>valore<\/span> <\/span>assoluto <\/span>e <\/span>impalpabile <\/span>del <\/span>colore.<\/span><\/font><\/p>\n



\n\t<\/font><\/p>\n

Il<\/span> p<\/span>er<\/span>co<\/span>r<\/span>so<\/span> <\/span>s<\/span>i<\/span> conc<\/span>l<\/span>ud<\/span>e<\/span> <\/span>n<\/span>e<\/span>g<\/span>li<\/span> sp<\/span>azi<\/span> <\/span>d<\/span>ella<\/span> <\/span>Ch<\/span><\/b>i<\/span><\/b>esa<\/span><\/b> <\/span><\/b>d<\/span><\/b>i<\/span><\/b> San<\/span> <\/span>Fede<\/span>l<\/span>e<\/span> <\/span><\/b>con<\/span> <\/span>l<\/span>’op<\/span>era<\/span> d<\/span>i<\/span> <\/span><\/span>C<\/span><\/b>l<\/span><\/b>aud<\/span><\/b>i<\/span><\/b>o<\/span><\/b> Parm<\/span>i<\/span>gg<\/span>i<\/span>an<\/span>i<\/span><\/span><\/b>,<\/span> <\/span>p<\/span>r<\/span>og<\/span>e<\/span>tt<\/span>a<\/span>t<\/span>a<\/span>a<\/span>ppos<\/span>i<\/span>t<\/span>a<\/span>m<\/span>e<\/span>nt<\/span>e<\/span> <\/span>p<\/span>er <\/span>l<\/span>’<\/span>al<\/span>t<\/span>are<\/span> m<\/span>a<\/span>gg<\/span>i<\/span>o<\/span>re<\/span>. <\/span>L<\/span>’<\/span>ar<\/span>t<\/span>i<\/span>st<\/span>a<\/span> p<\/span>ar<\/span>t<\/span>e<\/span> <\/span>d<\/span>a<\/span> <\/span>un<\/span>a <\/span>rifle<\/span>ss<\/span>i<\/span>on<\/span>e<\/span> <\/span>su<\/span>l <\/span>t<\/span>e<\/span>m<\/span>a <\/span>d<\/span>el <\/span>v<\/span>o<\/span>l<\/span>to <\/span>d<\/span>i<\/span> C<\/span>ri<\/span>sto <\/span>– <\/span>i<\/span>n<\/span> p<\/span>ar<\/span>t<\/span>i<\/span>co<\/span>lare<\/span><\/span>m<\/span>e<\/span>d<\/span>i<\/span>t<\/span>a<\/span>ndo<\/span> <\/span>su<\/span>l<\/span> <\/span>vel<\/span>o<\/span> <\/span>d<\/span>ella<\/span> <\/span>Ver<\/span>on<\/span>i<\/span>c<\/span>a<\/span> <\/span>– <\/span>ch<\/span>e<\/span> <\/span>n<\/span>ella<\/span> <\/span>su<\/span>a<\/span> <\/span>op<\/span>era<\/span> <\/span>d<\/span>ive<\/span>nt<\/span>a<\/span> <\/span>un<\/span>a<\/span> <\/span>co<\/span>r<\/span>on<\/span>a<\/span> <\/span>d<\/span>i<\/span> <\/span>sp<\/span>i<\/span>n<\/span>e<\/span> <\/span>i<\/span>n<\/span> <\/span>n<\/span>i<\/span>ch<\/span>el<\/span> <\/span>e <\/span>o<\/span>r<\/span>o:<\/span> <\/span>il<\/span> <\/span>v<\/span>o<\/span>l<\/span>to<\/span> <\/span>s<\/span>i<\/span><\/span>cond<\/span>e<\/span>ns<\/span>a<\/span> <\/span>n<\/span>ell<\/span>o<\/span> <\/span>st<\/span>r<\/span>um<\/span>e<\/span>nto<\/span> <\/span>d<\/span>el<\/span> <\/span>suo<\/span> <\/span>supp<\/span>lizi<\/span>o.<\/span> <\/span>S<\/span>i<\/span> <\/span>t<\/span>ra<\/span>tt<\/span>a<\/span> <\/span>d<\/span>i<\/span> <\/span>un<\/span> <\/span>ele<\/span>m<\/span>e<\/span>nto<\/span> <\/span>c<\/span>ir<\/span>co<\/span>lare<\/span> <\/span>ch<\/span>e<\/span>,<\/span> <\/span>le<\/span>g<\/span>a<\/span>ndos<\/span>i<\/span> <\/span>alle<\/span> <\/span>a<\/span>u<\/span>re<\/span>o<\/span>le<\/span> <\/span>d<\/span>elle<\/span> <\/span>st<\/span>a<\/span>tu<\/span>e<\/span>d<\/span>ei<\/span> <\/span>s<\/span>a<\/span>nt<\/span>i<\/span>,<\/span> <\/span>co<\/span>ll<\/span>oc<\/span>a<\/span>t<\/span>e <\/span>n<\/span>el <\/span>ri<\/span>p<\/span>ia<\/span>no<\/span> i<\/span>n<\/span>feri<\/span>o<\/span>re <\/span>d<\/span>ell<\/span>’<\/span>al<\/span>t<\/span>are<\/span>,<\/span> <\/span>d<\/span>ive<\/span>nt<\/span>a <\/span>co<\/span>r<\/span>on<\/span>a<\/span> <\/span>re<\/span>g<\/span>ale <\/span>d<\/span>el<\/span> Fi<\/span>g<\/span>li<\/span>o<\/span> <\/span>d<\/span>i<\/span> Di<\/span>o,<\/span> <\/span>ch<\/span>e<\/span> <\/span>s<\/span>i<\/span> <\/span>m<\/span>a<\/span>n<\/span>ife<\/span>st<\/span>a<\/span> <\/span>sub<\/span><\/i> <\/span><\/i>cont<\/span><\/i>raria<\/span><\/i>sp<\/span><\/i>e<\/span><\/i>c<\/span><\/i>ie<\/span><\/i>,<\/span> <\/span>n<\/span>el<\/span> <\/span>suo<\/span> <\/span>cont<\/span>rari<\/span>o.<\/span> <\/span>Il<\/span> <\/span>s<\/span>i<\/span>mbo<\/span>l<\/span>o<\/span> <\/span>d<\/span>i<\/span> <\/span>m<\/span>ar<\/span>t<\/span>iri<\/span>o<\/span> <\/span>s<\/span>i<\/span> <\/span>t<\/span>ra<\/span>s<\/span>f<\/span>o<\/span>r<\/span>m<\/span>a<\/span> <\/span>i<\/span>n<\/span> <\/span>un<\/span> <\/span>s<\/span>i<\/span>mbo<\/span>l<\/span>o<\/span> <\/span>d<\/span>i<\/span> <\/span>g<\/span>l<\/span>o<\/span>ria<\/span>.<\/span><\/font><\/p>\n

La<\/span> <\/span>mostra<\/span> <\/span>Oltre. <\/span>Le <\/span>soglie <\/span>dell’invisibile <\/span><\/i><\/b>è<\/span> <\/span>ad<\/span> <\/span>ingresso<\/span> <\/span>gratuito<\/span> <\/span>nelle<\/span> <\/span>tr<\/span>e<\/span> <\/span>sedi<\/span> <\/span>espositive.<\/span><\/p>\n

 <\/font><\/span><\/p>\n

 <\/font><\/span><\/p>\n

 <\/font><\/span><\/p>\n

Luoghi <\/span>e <\/span>orari:<\/span><\/font><\/h2>\n

Gallerie <\/span>d’Italia <\/span>– <\/span>Piazza <\/span>Scala<\/font><\/span><\/b><\/p>\n

piazza della Scala 6, Milano<\/span><\/font><\/p>\n

dal <\/span>martedì <\/span>alla <\/span>domenica <\/span>dalle <\/span>or<\/span>e<\/span> <\/span>9.30 <\/span>alle <\/span>or<\/span>e<\/span> <\/span>19.30 <\/span>(ultimo <\/span>ingresso<\/span> <\/span>or<\/span>e<\/span> <\/span>18.30), <\/span>giovedì <\/span>dalle <\/span>or<\/span>e<\/span> <\/span>9.30<\/span> <\/span>alle<\/span>or<\/span>e<\/span> <\/span>22.30 <\/span>(ultimo <\/span>ingresso<\/span> <\/span>or<\/span>e<\/span> <\/span>21.30). <\/span>Lunedì <\/span>chiuso.<\/font><\/p>\n

Le <\/span>Gallerie <\/span>di <\/span>Piazza <\/span>Scala <\/span>saranno <\/span>regolarmente<\/span> <\/span>aperte <\/span>nei <\/span>giorni <\/span>21 <\/span>e <\/span>25 <\/span>aprile, <\/span>2 <\/span>giugno; <\/span>resteranno<\/span><\/span> <\/span>chiuse <\/span>il<\/span>1 <\/span>maggio.<\/font><\/p>\n

Galleria <\/span>San <\/span>Fedele<\/span><\/font><\/h2>\n

via <\/span>U. <\/span>Hoepli <\/span>3\/a-b, <\/span>Milano<\/span><\/font><\/p>\n

dal <\/span>martedì <\/span>al <\/span>sabato <\/span>dalle <\/span>or<\/span>e<\/span> <\/span>16.00 <\/span>alle <\/span>or<\/span>e<\/span> <\/span>19.00.<\/span><\/font><\/p>\n

Chiesa <\/span>di <\/span>San <\/span>Fedele<\/span><\/font><\/h2>\n

piazza<\/span><\/font> <\/span>San<\/span><\/font> <\/span>Fedele 4,<\/span><\/font> <\/span>Milano<\/span><\/font>

\n\t<\/span><\/span>dal <\/span>lunedì <\/span>al <\/span>vener<\/span>dì<\/span> <\/span>dalle <\/span>or<\/span>e<\/span> <\/span>9.00 <\/span>alle <\/span>or<\/span>e<\/span> <\/span>16.00, <\/span>domenica <\/span>dalle <\/span>or<\/span>e<\/span> <\/span>15.00 <\/span>alle <\/span>or<\/span>e<\/span> <\/span>18.30.<\/span> <\/span>Sabato <\/span>chiuso.<\/span><\/font><\/p>\n

 <\/font><\/span><\/p>\n

 <\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

Intesa Sanpaolo e Fondazione Culturale San Fedele, presentano Oltre. Lesoglie dell’invisibile, una mostra pensata per indagare il tema del trascendente attraverso un percorso espositivoche pone in dialogo arte di varie epoche e connotazioni culturali. L’esposizione si apre oggi al pubblico fino al 29giugno 2014 presso gli spazi delle Gallerie d’Italia – Piazza Scala, della Galleria San Fedele e dellaChiesa di San Fedele.   La mostra è a cura di Andrea Dall’Asta S.J., direttore della Galleria San Fedele, e di Francesco Tedeschi,curatore della sezione del Novecento delle Gallerie di Piazza Scala.   Delle 42 opere in mostra, provenienti dalle raccolte Intesa Sanpaolo, da altre collezioni italiane e da prestiticoncessi dagli stessi artisti coinvolti, due sono state ideate appositamente per il progetto: la scultura diHidetoshi Nagasawa, che interpreta la figura simbolica dell’Axis mundi – in diverse religioni collegamento tra Cielo,Terra e Inferi – e la Corona di spine di Claudio Parmiggiani, uno dei rari interventi in Italia di arte sacra, pensato daun artista per una chiesa, partendo da una riflessione biblica e teologica.   Oltre. Le soglie dell’invisibile costruisce un dialogo tra autori emblematici della contemporaneità erappresentazioni storiche di soggetti religiosi attraverso accostamenti tematici, in un dialogo tra arte antica econtemporanea che intende mostrare la continuità di “valori” tra epoche, culture e modalità espressive diverse.Le opere sviluppano così una narrazione, tramite cui interpretare tensioni e direzioni di lettura che presentanorisvolti iconografici e di contenuto affini, pur attraverso linguaggi distanti.   L’Oltre rimanda al limite, al confine, alla possibilità di superare barriere, interiori ed esteriori, ma anche a ciò cheè inafferrabile, inaccessibile, indefinibile, che si sottrae al possesso e alla dominazione dell’uomo. È questa unadimensione, che se l’arte antica ha sviluppato percorrendo soprattutto le strade della figurazione narrativa, inuna continua reinterpretazione dei racconti biblici, l’arte contemporanea ha invece indagato esplorando nuoveforme espressive, come quelle legate all’astrazione. Il percorso espositivo prende avvio nelle Gallerie d’Italia – Piazza Scala e si apre con la sezione dedicata altema Aspirazioni d’infinito, in cui sono presentate opere di Lucio Fontana – del quale La fine di Dio (1963) inprestito dalla Fondazione Lucio Fontana – Alberto Burri e Giuseppe Santomaso, accanto ad alcune iconerusse, datate dal XIII al XVIII secolo, provenienti dalla collezione Intesa Sanpaolo conservata nelle Gallerie diPalazzo Leoni Montanari a Vicenza.   Il secondo momento della mostra, Tra Terra e Cielo, si focalizza invece sulla tematica del dialogo-passaggio dalladimensione terrena a quella celeste, sviluppandosi intorno alla scultura di Hidetoshi Nagasawa e al grandedipinto di Mario Sironi Composizione (Uomo con vanga) (1928), dalla collezione di Confagricoltura Milano Lodi eMonza Brianza.   La mostra prosegue presso la Galleria San Fedele con la sezione Per grazia ricevuta, dove si articola unconfronto serrato tra più di venti ex voto (dal XIV al XX secolo) – appartenenti alla collezione Fondazione P.G.R. – Per Grazie Ricevute, tra le maggiori esistenti – e una serie di opere di Mimmo Paladino, raffinatereinterpretazioni di alcuni aspetti legati alla tradizione popolare. Si continua con la sezione Nella luce divina, unariflessione sulla luce – simbolo di trascendenza – e sulla sua rappresentazione, attraverso l’accostamento di duetavole medievali (l’Incoronazione della Vergine, attribuita a Lorenzo di Niccolò Gerini, della seconda metà delTrecento – dalla collezione della Cassa di Risparmio di Pistoia e della Lucchesia – e Storie del Battista, di autoreignoto, 1300-1330) e alcuni dipinti di Ettore Spalletti, artista che da sempre concentra la propria attenzioneintorno al valore assoluto e impalpabile del colore. Il percorso si conclude negli spazi della Chiesa di San Fedele con l’opera di Claudio Parmiggiani, progettataappositamente per l’altare maggiore. L’artista parte da una riflessione sul tema del volto di Cristo – in particolaremeditando sul velo della Veronica – che nella sua opera diventa una corona di spine in nichel e oro: il volto sicondensa nello strumento del suo supplizio. Si tratta di un elemento circolare che, legandosi alle aureole delle statuedei santi, collocate nel ripiano inferiore dell’altare, diventa corona regale del Figlio di Dio, che si manifesta sub contrariaspecie, nel suo contrario. Il simbolo di martirio si trasforma in un simbolo di gloria. La mostra Oltre. Le soglie dell’invisibile è ad ingresso gratuito nelle tre sedi espositive.       Luoghi e orari: Gallerie d’Italia – Piazza Scala piazza della Scala 6, Milano dal martedì alla domenica dalle ore 9.30 alle ore 19.30 (ultimo ingresso ore 18.30), giovedì dalle ore 9.30 alleore 22.30 (ultimo ingresso ore 21.30). Lunedì chiuso. Le Gallerie di Piazza Scala saranno regolarmente aperte nei giorni 21 e 25 aprile, 2 giugno; resteranno chiuse il1 maggio. Galleria San Fedele via U. Hoepli 3\/a-b, Milano dal martedì al sabato dalle ore 16.00 alle ore 19.00. Chiesa di San Fedele piazza San Fedele 4, Milano dal lunedì al venerdì dalle ore 9.00 alle ore 16.00, domenica dalle ore 15.00 alle ore 18.30. Sabato chiuso.    <\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[4],"tags":[17446,6333,17,2531],"class_list":["post-40978","post","type-post","status-publish","format-standard","hentry","category-arte","tag-arte","tag-gallerie-ditalia","tag-milano","tag-san-fedele"],"_links":{"self":[{"href":"https:\/\/www.gdapress.it\/it\/index.php\/wp-json\/wp\/v2\/posts\/40978","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.gdapress.it\/it\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.gdapress.it\/it\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.gdapress.it\/it\/index.php\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.gdapress.it\/it\/index.php\/wp-json\/wp\/v2\/comments?post=40978"}],"version-history":[{"count":1,"href":"https:\/\/www.gdapress.it\/it\/index.php\/wp-json\/wp\/v2\/posts\/40978\/revisions"}],"predecessor-version":[{"id":40979,"href":"https:\/\/www.gdapress.it\/it\/index.php\/wp-json\/wp\/v2\/posts\/40978\/revisions\/40979"}],"wp:attachment":[{"href":"https:\/\/www.gdapress.it\/it\/index.php\/wp-json\/wp\/v2\/media?parent=40978"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.gdapress.it\/it\/index.php\/wp-json\/wp\/v2\/categories?post=40978"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.gdapress.it\/it\/index.php\/wp-json\/wp\/v2\/tags?post=40978"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}