chiesa rossa milano dan flavin | dan flavin church church

In 1996, following an invitation from the visionary Italian priest Don Giulio Greco, the American minimalist artist Dan Flavin embarked on a project that would forever alter the perception of a modest parish church in Milan, the Chiesa di Santa Maria Annunciata in Chiesa Rossa, more commonly known as Chiesa Rossa. Flavin, renowned for his sculptures created solely from commercially available fluorescent light tubes, transformed the church's interior into a breathtaking symphony of color and light, a testament to the power of art to amplify spiritual experience. This intervention, now a permanent installation, stands as a pivotal example of Flavin's oeuvre and a compelling dialogue between contemporary art and religious architecture.

The Genesis of a Vision: Don Giulio Greco and Dan Flavin

The story of Chiesa Rossa's transformation begins with Don Giulio Greco, a priest with an extraordinary appreciation for art and its capacity to connect with the divine. Don Greco believed that art could be a powerful tool for engaging the community and creating a space that was both welcoming and spiritually enriching. He envisioned a church that resonated with the sensibilities of the modern world, a place where contemporary artistic expression could complement and enhance traditional religious practices.

Greco's search for the right artist led him to Dan Flavin, a figure already well-established in the art world for his innovative use of fluorescent light. Flavin, born in Jamaica, New York, in 1933, had broken away from traditional sculptural materials and techniques to create his signature works: minimalist configurations of readily available fluorescent tubes that manipulated light and space in profound ways. He considered his light installations as "situations," interventions that fundamentally altered the perception of the environments they occupied.

The collaboration between Don Greco and Dan Flavin was an unlikely but ultimately fruitful partnership. While Flavin was not known for explicitly religious themes in his work, he was deeply interested in the transformative potential of light and its ability to evoke emotional and psychological responses. He saw the Chiesa Rossa as a unique opportunity to explore these ideas within the context of a sacred space, a challenge he embraced with characteristic rigor and sensitivity.chiesa rossa milano dan flavin

The Installation: A Chromatic Liturgy

Flavin's installation at Chiesa Rossa is not a single artwork, but rather a carefully considered series of light configurations that respond to the church's architecture and the liturgical calendar. The artist meticulously studied the space, taking into account the natural light, the existing architectural features, and the spiritual atmosphere. He then designed a series of light arrangements that would subtly and dramatically alter the perception of the interior throughout the year.

The primary palette consists of five colors: pink, gold, blue, green, and ultraviolet. These colors are strategically deployed in different areas of the church, each chosen for its symbolic resonance and its effect on the overall atmosphere.

* Pink: Used predominantly in the nave, pink symbolizes joy and love, creating a warm and inviting atmosphere. It subtly illuminates the walls and vaulted ceiling, softening the hard edges of the architecture and infusing the space with a sense of tranquility.

* Gold: Associated with divinity and transcendence, gold is used sparingly but effectively to highlight key architectural elements, such as the altar and the apse. It draws the eye towards the focal points of the liturgical space, emphasizing their importance and creating a sense of awe.

* Blue: Representing hope and healing, blue is used in the side chapels and along the perimeter of the nave. It creates a cool and calming atmosphere, inviting contemplation and reflection.

* Green: Symbolizing life and growth, green is used in the areas surrounding the baptismal font and the confessional. It reinforces the themes of renewal and forgiveness, creating a sense of hope and possibility.

* Ultraviolet: Perhaps the most striking element of the installation, ultraviolet light is used to illuminate the cross above the altar. This unexpected color choice creates a dramatic and ethereal effect, transforming the traditional symbol of Christianity into a beacon of otherworldly light.

The arrangement of these colored lights is not static; it changes throughout the liturgical year, reflecting the different seasons and celebrations of the church calendar. During Advent, for example, the blue and violet tones are intensified, creating a sense of anticipation and penance. During Christmas, the pink and gold lights become more prominent, celebrating the joy and wonder of the Nativity.

This dynamic interplay of color and light transforms the Chiesa Rossa into a living, breathing artwork that evolves with the spiritual rhythms of the church community. It is a testament to Flavin's understanding of the power of light to evoke emotion and create a sense of wonder.

Dan Flavin's Artistic Language: Fluorescent Light as Medium

To fully appreciate the impact of Flavin's work at Chiesa Rossa, it's essential to understand his artistic language and his unique use of fluorescent light. Flavin was not interested in creating illusionistic representations or traditional sculptures. Instead, he sought to create "situations" that directly engaged with the viewer's perception of space and light.

He chose fluorescent light as his primary medium for several reasons. First, it was a readily available and inexpensive material, reflecting his commitment to accessibility and his rejection of the elitism often associated with the art world. Second, fluorescent light possessed a unique quality of luminosity that he found particularly compelling. It was not a pure or neutral light, but rather a tinted and diffused light that could subtly alter the perception of colors and surfaces.