In this moment of research of the new and as far as possible to trace in identifying art paths, subjects and singular vo
cations of thought and poetic, capable not of not lending themselves to total breakage, but to looks of reflection between past and present, to observe the history and its links, the work of Two Italian artists who have chosen a very singular space, such as Piero Manzoni’s former study in Milan in proposing their recent work to an audience. And they do it in a space full of history, which was the place in via Fiori Chiari in Milan, research and high experimentation space, conceptual art and cutting -edge vocation. Two artists, Massimiliano friend and Carlo Colombo, the first pure painter, the second architect of objects and design.
Massimiliano Amico is an artist full of the most intense and corroborating values that can animate the art and the world that lives it. An exhibition that today highlights not only the man but also the “master” in his planning and carrying out the artistic path, his pictorial activity, imbued with all those chromatic ignitions, of that tingling of abstract signs, of that aesthetic aesthetic humus in part in part European. Master of refined techniques, who makes us read the new Italian painting, the most touching story of life and the world, almost remembering what Corot said, in that noble sentence: “We use color but paints with feeling. Physical and mental light that relies on a painting that is a natural space, marked by the exact alternation of vertical and horizontal, full and empty; of a color that reaches splendors unusual between vibrant touches and spots, and bold drafting that chase the spirit of ancient time. The space of 
Massimiliano Amico everything lives so of excited lights, of visual tensions, of stories always in relation to the character of the places, of light ignitions, of nuclei and spots that set the different compositional level, and still the mutations of the states of light that cling to the color playing on density and atmospheres.
On display in addition to the paintings of Massimiliano Amico we find The works of Carlo Colombo, master of glass, of very precious lamps, of rituals
Objects that allow to find and have a sampling of significant intellectuality in design. Because thinking about art and production as a sort of objecting of objecting constitutes a new formula that brings the work out of museology, to move it in everyday life and in the most unexpected places. Table lamps, historical glass, iridescent colors, objects as stopped by time, who recall the objects described by the poet Guido Gozzano in his famous poem “The friend of Nonna Spena”; Lamps with signs and geometries, side dishes, sinked atmospheres, reconstructed, bathed by soft or solar colors, colors that enclose the breath of an air and an all Veneto color that from Titian to contemporaries has carried out and performs eternal measure.
Lux Mundi lets discover profiles, land of land, sea and heaven, -t but they would not be sorry to Gabriele D’Annunzio-; They gave birth to this unique cathedral which is the exhibition of these two artists, stimulating and monumental, sacred and fascinating, feverish and intellectual, musical, mysterious; Because light and color have already imported a portion of eternity.
Carlo Franza