Until January 17th, 2026, Plan X Milano is hosting The Sacred Enter Where It Is Allowed, a duo show by Filippo Cegani and Riccardo Di Caro. Two artists who, as Alberto Villa writes in the curatorial text, address the theme of the sacred by letting it emerge “in the interstice” between what is visible and what remains beyond our reach. In the exhibition, painting appears as a living organism, in constant metamorphosis, always ready to reinvent itself.

Cegani and Di Caro come from seemingly distant imaginaries: the former draws on Western iconography, while the latter rereads Eastern iconography through a superflat aesthetic. And yet it is precisely in this distance that, as Villa underlines, “the table of superimposition” takes shape, where painting and spirituality intertwine, turning the surface into a place where the sacred becomes perceptible without being explicitly declared.

In Filippo Cegani’s new canvases, the ancient theme of memento mori replaces saints and Madonnas. A helmet reflects a funeral procession, Artemis lets the shadow of a skull surface, an ancient mask looks through a carved panel, a severed sunflower seems condemned to bow once again. The macabre is never decoration: it is, to quote Villa, “the first and last reason for the necessity of the sacred,” the awareness that everything we protect is destined to be consumed.

Riccardo Di Caro, on the other hand, moves within an immanent spirituality, built on suspended moments that never reach a resolution. The anime characters are not quotations but fragments that open up incomplete narratives: a drop of blood remains eternally on the verge of falling, the memory of a kitten weighs more than the flowers that surround it, seven versions of the same self live and die together. His is, as Villa defines it, “a painting of oppositions,” an ellipse that follows multiple centers instead of a single path.

The real meeting point between the two artists is neither life nor death, but what flows between them. And it is precisely there that, as Villa concludes, “the sacred must be sought,” in that intermediate space where the works of the two artists become narratives without beginning or end, belonging to a time that cannot be measured. An exhibition that does not offer answers, but points with precision to where mystery might reside.