In September 2015 Pirelli HangarBicocca opened a new site-specific installation by Anselm Kiefer to the public. Curated by Vicente Todolí, the installation is an extension of I Sette Palazzi Celesti, a permanent work conceived and presented for Pirelli HangarBicocca in 2004 from a project by Lia Rumma. Five large paintings, produced between 2009 and 2013, together with the seven "towers" - now accessible to the public - form a single installation entitled The Seven Heavenly Palaces 2004-2015. The five great canvases - Jaipur (2009); two works from the series Cette obscure clarté qui tombe des étoiles (2011); Alchemie (2012); Die deutsche Heilslinie (2012-2013) - are exhibited in the space of the "Navate" which houses the permanent installation, giving a new meaning to Anselm Kiefer's masterpiece. In fact, the canvases recall some themes already present in The Seven Heavenly Palaces - the great architectural constructions of the past as an attempt by man to ascend to the divine and the constellations represented through astronomical numbering - and also add some central reflections in the artist's poetics, such as the relationship between man and nature, references to the history of Western thought and philosophy.

In September 2015 Pirelli HangarBicocca opened a new site-specific installation by Anselm Kiefer to the public. Curated by Vicente Todolí, the exhibition is an extension of I Sette Palazzi Celesti, a permanent work conceived and presented for Pirelli HangarBicocca in 2004 from a project by Lia Rumma. Five large paintings, produced between 2009 and 2013, together with the seven "towers" - now accessible to the public - form a single installation entitled The Seven Heavenly Palaces 2004-2015. The five great canvases - Jaipur (2009); two works from the series Cette obscure clarté qui tombe des étoiles (2011); Alchemie (2012); Die deutsche Heilslinie (2012-2013) - are exhibited in the space of the "Navate" which houses the permanent installation, giving a new meaning to Anselm Kiefer's masterpiece. In fact, the canvases recall some themes already present in The Seven Heavenly Palaces - the great architectural constructions of the past as an attempt by man to ascend to the divine and the constellations represented through astronomical numbering - and also add some central reflections in the artist's poetics, such as the relationship between man and nature, references to the history of Western thought and philosophy.

Efêmero is the first intervention of the "Outside the Cube" program, dedicated to Street Art and forms of art related to the urban and public context. On the occasion of the inaugural edition, OSGEMEOS, literally "the twins", pseudonym of the brothers Gustavo and Otávio Pandolfo (1974, Sao Paulo, Brazil), presented their first large mural in Italy. Taking inspiration from the history of the Pirelli HangarBicocca building, where train locomotives were manufactured in the last century, and from the proximity of the railway line that runs parallel, Efêmero recreates the silhouette of a metropolitan wagon on a monumental scale that projects the local context into a journey fictional. With a background rooted in hip-hop culture and "wildstyle" graffiti, the duo has brought the culture of writing to major international museums, developing cultured and recognizable work since the 1980s. Characterized by the presence of dreamlike landscapes and poetic figures, OSGEMEOS's work draws on a wide range of cultural, social and political references as well as the colors, nature and urban context of São Paulo.

Efêmero is the first intervention of the "Outside the Cube" program, dedicated to Street Art and forms of art related to the urban and public context. On the occasion of the inaugural edition, OSGEMEOS, literally "the twins", pseudonym of the brothers Gustavo and Otávio Pandolfo (1974, Sao Paulo, Brazil), presented their first large mural in Italy. Taking inspiration from the history of the Pirelli HangarBicocca building, where train locomotives were manufactured in the last century, and from the proximity of the railway line that runs parallel, Efêmero recreates the silhouette of a metropolitan wagon on a monumental scale that projects the local context into a journey fictional. With a background rooted in hip-hop culture and "wildstyle" graffiti, the duo has brought the culture of writing to major international museums, developing cultured and recognizable work since the 1980s. Characterized by the presence of dreamlike landscapes and poetic figures, OSGEMEOS's work draws on a wide range of cultural, social and political references as well as the colors, nature and urban context of São Paulo.

Efêmero is the first intervention of the program �

Efêmero is the first intervention of the "Outside the Cube" program, dedicated to Street Art and forms of art related to the urban and public context. On the occasion of the inaugural edition, OSGEMEOS, literally "the twins", pseudonym of the brothers Gustavo and Otávio Pandolfo (1974, Sao Paulo, Brazil), presented their first large mural in Italy. Taking inspiration from the history of the Pirelli HangarBicocca building, where train locomotives were manufactured in the last century, and from the proximity of the railway line that runs parallel, Efêmero recreates the silhouette of a metropolitan wagon on a monumental scale that projects the local context into a journey fictional. With a background rooted in hip-hop culture and "wildstyle" graffiti, the duo has brought the culture of writing to major international museums, developing cultured and recognizable work since the 1980s. Characterized by the presence of dreamlike landscapes and poetic figures, OSGEMEOS's work draws on a wide range of cultural, social and political references as well as the colors, nature and urban context of São Paulo.

Mentioned for the first time in the pages of the Pirelli magazine in December 1971, La Sequenza was made in 1981 for the great retrospective at the Forte del Belvedere (Florence). After the restoration in 1991 for an exhibition at Villa Arconati in Bollate (Milan), in 2010 the sculpture was donated by the Fausto Melotti Foundation and placed at the entrance to the outdoor garden of Pirelli HangarBicocca, to welcome the visitor as a symbolic threshold, moment of passage to contemporary art through the cultural heritage of a great master of the recent past. The work - a composition of identical modules made up of three levels of depth according to an alternation of lines, solids and voids that makes it impossible to grasp it with a single glance - represents the culmination of the artist's research, of an anti-modern sculpture -celebrative and anti-monumental. In The Sequence it is possible to find the themes dear to Melotti: the theatrical space that can be traveled through in depth, given by the different "wings" that open one after the other; the concept of modulation - a rational element that arises from the rhythm and study of proportions - as opposed to that of modeling - a subjective and irrational element typical of traditional sculptures; that of theme and variations - a musical element par excellence - which arises from the alternation of positive and negative volumes; finally, the architectural element given by the size of the sculpture and the rhythm of the Corten slabs that appear almost like columns of a classical or rationalist construction.