At a historical moment when Milan is at the center of global attention for many reasons, confirming its undisputed leading role also in the international art scene, Almach Art Gallery presents a new exhibition concept: "NEXT - The New Directions of Art in Milan," opening on September 25.

"NEXT" is not just an invitation to the future, but a statement of purpose: here we exhibit actual art, living art that responds to the present without identifying with the long-used definition of "contemporary." After seventy years of art defined as such, it is time to name what is happening now, with current languages and perspectives in which the message of the work of Art remains alive, present, and label-free.

We seek no distinctions based on expressive medium, techniques, or classification of styles and -isms. A work of Art must, from the moment of its conception, have a purpose that goes beyond superficial aesthetics. It must achieve the magic of activating superior feelings and emotions in the viewer.

NEXT – Le nuove direzioni dell’arte a Milano

ELIA PANORI - The New Void

Almach Art has always been careful to give space to young art, taking the risks of a complex but value-rich promotion.

Speaking of young art, we can rightly refer to Elia Panori: young in age, yet already rich in artistic experiences that, through a long journey, have led him to a thoughtful maturation.

"The New Void" is the title of the work in which Elia Panori seeks to fill that void—the absence of the superficial matter that today's society often presents as a reason for living. It is a generational void, the fruit of an uncomfortable and cumbersome social and environmental legacy that has left our youth with difficult ground to cultivate, ground that only the most courageous and stubborn will manage to make fertile again.

LUCIO PERNA - Indeterminacy and Movement

The inspiration for the work exhibited here stems from Lucio Perna's curiosity and interest in quantum mechanics.

He reminds us that, according to the "Heisenberg Paradox," "...it is impossible to simultaneously and precisely measure the position and momentum of a particle." If one measures and verifies the position, it becomes impossible to determine the other parameter. simultaneamente e con precisione : posizione e quantità di moto di una particella“. Se si misura e si verifica la posizione è impossibile determinare l’alto parametro.

He reminds us that, according to the "Heisenberg Paradox," "...it is impossible to simultaneously and precisely measure the position and momentum of a particle." If one measures and verifies the position, it becomes impossible to determine the other parameter. 

Indeed, it is a certain fact that Art has existed since the dawn of homo sapiens and will live as long as the human race, despite those nihilists or prophets of doom who often predict its death. 

It is equally certain, however, that at no moment is it possible to establish or predict which direction art will take in the future.

Thus, the principle of "indeterminacy" is also applicable to Art: while we are always aware of its real existence, its future paths and trends remain impossible to predict with precision.

SALVADOR AULESTIA - "Futurist Green" and "Woman's Face"

Aulestia was a polyhedric figure (painter, sculptor, writer, musician, creator of the "Sideroploid") who defied the rigid classifications of his time.

You might ask how a master of the 20th century fits into an exhibition about the 'future' of art. The answer lies in the title itself: NEXT is not a matter of date, but of resonance.

The two drawings by Salvador Aulestia on display are powerful activators of emotions that speak to our present with unprecedented urgency. They demonstrate that Actual Art is that which, regardless of the year of creation, succeeds in stopping the viewer's time and making them "feel."

Exhibiting a master who crossed disciplinary boundaries and was defined as a "black hole in art history" for his uniqueness is the perfect example of an artist who refused to be caged by the labels of his era.

Aulestia lived and worked for a long time in Milan (where he died in 1994). His presence creates a bridge between the historical and cultural Milan and the global Milan of today—a city that looks to the future without erasing the past, rereading masters as if they were contemporaries, reinforcing the idea of a city as a "global center" that knows how to value its heritage by making it alive and urgent.