It is presented to the public, at the Pantheon in Rome at 6:30 pm Oculus-Spei, an interactive multimedia installation by the artist Annalaura di Luggo with the moral sponsorship of the Jubilee and the Ministry of Foreign Affairs and International Cooperation. 

The event coincides with the International Day of Persons with Disabilities in Museums. The initiative is promoted by Pantheon and Castel Sant'Angelo - National Museums Directorate of the city of Rome with the scientific coordination of Gabriella Musto and curated by Ivan D’Alberto, theorist and historian of contemporary art.  

Annalaura di Luggo builds around this statement her exhibition proposal where the visual representation of the beam of light from the Pantheon's Oculus becomes the key to open 5 ideal Holy Doors. The audience, invited to physically knock on these Doors, is transported to another dimension, and accompanying them on this journey are people with disabilities who guide the observer in a "pilgrimage of hope". These modern Virgil, enlightened and transfigured by the Light, open a "new perspective" on inner beauty. 

Oculus-Spei is, in fact, an invitation to embark on a spiritual and cultural journey through the discovery of the four corners of the world symbolically represented by the four sails that make up the Jubilee logo. The journey culminates in a fifth door, that of the Rebibbia Prison which Pope Francis has chosen as an additional Holy Door of the Jubilee. Here the visitor is confronted with themselves thanks to a real-time gesture recognition camera system: a transformative space where, once again, it is light that triggers a profound reflection on our condition as human beings.

The journey through the Holy Doors thus becomes a metaphor for a universal spirituality in the sign of a commitment to the equal dignity of all, in the perspective of a solidarity expressed through the language of art, because as the German painter Gerhard Richter stated: "Art is a form of hope". Richter's affirmation finds a perfect adherence in the work of Annalaura di Luggo as interventions like the one designed for the Pantheon represent a true form of resistance to the progressive processes of homogenization of contemporary