MOTOTROMBE! A Roaming Concert for Exhaust Horns

On Friday, April 17 at 5:00 PM, ASM AssoArtisti Confesercenti presents the first street concert of the “Mototrombe.” This series of sound sculptures, created by artist Aronne Pleuteri through the welding of discarded materials from the automotive industry, will be activated in the very place — and at the very time — that inspired them.

Mototrombe. Credits: Aronne Pleuteri

On the one hand, there is Milan — the city, its noises, and the memory of Futurism and Luigi Russolo’s “intonarumori”; on the other, the unmistakable signs of the approaching end times.

The mototrombists and their sonic materials — the instruments produce sounds evoking the rumble of an engine, a war horn, or a sorrowful lament — will be conducted by composer Dario Buccino along a route beginning in Piazza Duca d’Aosta (Central Station) and culminating in the majestic nave of the Church of Santa Maria degli Angeli.

Mototrombe. Credits: Aronne Pleuteri

Here, the instruments will be “parked” and will remain on view until April 26.

An independent project by Aronne Pleuteri, in collaboration with composer Dario Buccino, ASM AssoArtisti Confesercenti, and the Franciscan Order of Santa Maria degli Angeli.

Bekhbaatar Enkhtur in dialogue with the Himalayan Collection of the MAO

Starting Tuesday, April 14, 2026, a site-specific work by Mongolian artist Bekhbaatar Enkhtur (Ulaanbaatar, Mongolia, 1994) will be on view in the South and Southeast Asia and Himalayan Region galleries of the MAO, conceived in dialogue with works from the museum’s permanent collection.

Bekhbaatar Enkhtur, Untitled, 2026 – ph Giorgio Perottino

Inspired by depictions of guardian lions—symbolic protective figures traditionally placed at the entrances of temples and codified during the Ming and Qing dynasties, later disseminated across Inner Asia, including Mongolia under Qing rule—Bekhbaatar Enkhtur’s sculpture offers a contemporary reinterpretation of the idea of religious offering.

In Untitled (2026), made of hand-moulded beeswax, the organic element—unstable and fragile—carries strong symbolic value. By calling into question the nature of sculpture as a “representation of matter,” the work evokes concepts such as impermanence, imperfection, transience, and the perpetual mutability of life in all its forms and developments, notions deeply rooted in Buddhist philosophy and religion.

Conceived specifically for the MAO, the sculptural intervention takes traditional iconographic language as its point of departure, reworking it to offer a new interpretation.

Whereas in tradition the male lion embodies sovereignty and control over the material realm, and the lioness with her cub represents continuity and the transmission of lineage—within a symbolic system that also intertwines with the figure of the Tibetan Snow Lion, an emblem of fearless strength and of the so-called “lion’s roar,” a metaphor for the authoritative proclamation of Buddhist teaching—in Bekhbaatar Enkhtur’s work the cub is isolated and deprived of the adult lion. In this way, the structure of authority and protection is suspended, allowing the fragile and vulnerable sign of continuity to emerge.

The work will become part of the MAO’s collections.

Corpi nel paRco - Corpi sul palco® at Teatro Continuo

On the occasion of Milan Art Week, Corpi sul palco®, Teatro Linguaggicreativi and nctm e l’arte are pleased to invite you to an afternoon of performances, Corpi nel paRco, Corpi sul palco® at Teatro Continuo, a project by Gabi Scardi and Andrea Contin.

Corpi nel paRco, Corpi sul Palco® at Teatro Continuo is an initiative conceived by Gabi Scardi and Andrea Contin as a temporary activation of one of the most radical works in Milan’s public space, Teatro Continuo by Alberto Burri.

Conceived in 1973 as a stage machine permanently available for use, and restored in 2015 through the intervention of nctm e l’arte, Teatro Continuo does not establish a frontal relationship nor a hierarchy between stage and audience: it is a space to be crossed, exposed, in constant dialogue with the park and with the visual axis connecting Castello Sforzesco to the Arco della Pace.

The project is grounded in the idea that the stage should not be occupied, but temporarily inhabited; that it should not separate, but create continuity; that it should not constitute a closed performance, but rather a condition of shared presence. For one afternoon, the work will be activated through a sequence of short performative interventions. The actions will unfold in relation to natural light, time, and the flow of visitors, in a condition of permeability between those who act and those who observe. The audience will be free to pause, pass through, approach, or move away. The experience will not be frontal but situated: Teatro Continuo will become a threshold between body and city, between gesture and landscape. Corpi nel paRco thus restores the space to its original function: to be an open platform, activated through use, interpretation, and presence.

Among the invited artists: Karin Andersen, Teresa Antignani, Sonia Arienta, Sergio Breviario, LETIA – Letizia Cariello, Silvia Cini, Marilisa Cosello, Marta Dell’Angelo with Marek Jason Isleib, Manuel De Marco, Daniel Gonzalez, Julia Krahn, Elisabetta Lazlo, Elena Lerra, Loredana Longo, Federica Mariani, Concetta Modica, Liliana Moro, Elena Nemkova, Pleto Ple with Supersciri, Aronne Pleuteri, Rikyboy, Carmen Schabracq with Eva Mooiman, Stefano Tolusso, Luca Valli, Marcella Vanzo, VENERDISABATO, Caterina Ruysch, Voltolini.

Final performance/concert with Nicola Di Caprio (percussion) and Francesca Petrolo (trombone). Corpi nel paRco.