The Diocesan Museum of Milan was formally founded in 1960 (but it has been operational only since 2001) as a manifestation of the Ambrosian diocese, reflecting the orientation of the latter for art and its ecclesial identity. The main task of this institution has always been to preserve and promote the diocese’s artistic heritage, valorizing its historical and religious meaning. The marvelous venue at the Sant’Eustorgio Cloisters gathers about 600 works, which mainly come from the archiepiscopal collection of paintings and from the Diocese.
However, the museum has not forgotten contacts with the society that it is rooted in, which is particularly active and oriented towards innovation in a context such as the Milanese one. Therefore, the institution has decided to accept the incentives from the outside by opening up not only to twentieth-century art but also by organizing events dedicated to contemporary art.
Firstly, a section entirely dedicated to the twentieth century is being planned, and it will have also works by Lucio Fontana, Aldo Carpi, William Congdon and other artists, already present in the museum collections, but not displayed to the public until now. Furthermore, the attention towards the contemporary scene is becoming increasingly strong and particularly important in the Milanese metropolis.
Since 2005 visitors have been offered events and exhibitions realized by contemporary artists within the Contemporary MuDI demonstration. Even this year the appointment will take place leaving space for the works of three artists.
Devalle will present “You are my destiny”, a selection of about twenty works that will retrace the last years of his oeuvre. There will also be an installation of young Milanese artist Mattia Bosco who deals with the difficult theme of the crucifixion in the work “Il tempio è di chi lo abita”. And finally, an area will be dedicated to Alberto de Braud’s suggestive installation entitled Unexpected.
The Diocesan will bring two huge floating apples to the sky of Milan. The great installation will be there to be admired until the 6th September.
The work is a 9-metre-high sculpture in polyether and helium, made up of two huge overlaid apples, located at the height of 15 metres in the museum courtyard, visible both from the inside and from the outside of the building.

What better way than this to break away from the confined spaces of the institution and dialogue with the surrounding metropolitan environment? A perfect metaphor of the will to not be confined to the narrow museum spaces but to look for a confrontation with the outside.
Alberto de Braud is particularly fascinating for his reinvention of objects. Common objects, belonging to our daily lives, are reinvented by seizing their symbolic and vital breadth. The elements that make up the work break loose from their functional identity and become opportunities to set up in the air shapes that evoke sensations of fragility and lightness, characterized by a constant sense of balance and an ironic vision of reality which, for the artist, is always on the borderline. 

Choices that are definitely courageous and unexpected by a museum born with the specific intent to preserve and valorize religious works and sacred furnishings. However, it is also true that ecclesiastical museums are the ones that more than others are able to attract private resources. And this aspect definitely has to be related to their ability to meet the public’s needs, to open a positive relation with visitors and gain their interest with new initiatives.
The Diocesan Museum has certainly not been inadequate from this point of view. Besides the traditional exhibitions that come one after the other and are housed in the museum rooms, we must point out its enthusiasm in organizing events. For instance, the summer months propose the initiative  “Sere d’estate”, which sees the museum closing during the day and opening its doors to visitors in the evening during the contemporary MuDi.
These initiatives have definitely been helpful in attracting both public and private resources, contributing to the success of the institution.

(translated by Giorgina Arcuri)