Artissima's cultural programme has a new long-term project: 'Il respiro della luce', presented by the Archivio Oscar Piattella under the patronage of the City of Turin. The initiative aims to return a little-known cultural asset to the city's map — Oscar Piattella's monumental stained-glass apse at the Sanctuary of Nostra Signora della Salute. The permanent work, completed in 1992, rises 17 metres and is composed of 13,000 hand-blown glass tesserae. For the new project, the apse will be reinterpreted through backlighting and a site-specific intervention combining soundscape and contemporary dance, developed with the Department of Culture, the Accademia Albertina di Belle Arti di Torino, the Pinacoteca Albertina and the Abbonamento Torino Musei network. The project launches during Artissima — whose 33rd edition opens at the Oval Lingotto Fiere at the end of October — but is designed to run for the next two years, positioning it as a sustained cultural programme rather than a one-off fair sideshow. Piattella, whose work bridges painting, glass and architectural scale, receives here one of his most visible institutional reappraisals. For Artissima, the collaboration extends the fair's citywide footprint into religious heritage architecture. The fair's 33rd edition, themed 'Fancy: A Flexible, Acrobatic Body' and directed by Luigi Fassi, opens at the Oval Lingotto Fiere from 30 October to 1 November with some 180 Italian and international galleries, and recent editions have increasingly woven Turin-based institutions, academies and historic sites into its programming beyond the exhibition halls. Pairing the fair with a two-year project inside a working sanctuary underlines that city-scale strategy: 'Il respiro della luce' will outlive the fair week by roughly two years, with the backlit apse, soundscape and dance intervention conceived as a durable re-reading of the monument rather than a temporary installation. The Archivio Oscar Piattella, the City of Turin's cultural department and the museum-membership network behind the project all point to a shared ambition — moving a monumental work that has long lacked its rightful place back into public consciousness.