Hussain Aga Khan’s “The Living Sea” in Milan

Living in Milan, the Museo di Storia Naturale is a familiar landmark on my daily bike ride down to the gym. I learned about Hussain Aga Khan’s The Living Sea exhibition long before it opened, but the large blue poster at the museum’s gates stopped me in my tracks as I was riding by that day. In a city famous for fashion and design, it is rare to experience the genuine excitement of seeing the work of partners and colleagues in conservation, people I respect deeply, and causes I am profoundly committed to.

I skipped the gym that day, bought tickets immediately, and I have since returned several times to The Living Sea, bringing along friends, family members, and all my house guests this summer. No one I brought works in ocean conservation, yet every single person was both deeply impressed and, in many cases, extremely moved. Hussain Aga Khan’s photography is arresting in its artistry and precision. Large-format prints, displayed with excellent lighting and thoughtful curation, reveal scenes that seem otherworldly: dolphins and dugongs in the Red Sea, manta rays and sharks off Mexico’s Revillagigedo Islands, and humpback whales in the waters of Tonga.

The power of the exhibition lies not only in the beauty of these images, but in their ability to communicate the complexity and fragility of marine ecosystems. Many of my guests admitted they had never seen such vivid representations of ocean life before. They were astonished by the biodiversity on display. From brilliantly colored corals to hawksbill turtles, angelfish, scorpionfish, and parrotfish. Their surprise often gave way to a sober realization of how little they knew about what lies beneath the surface. A common refrain during these visits was the same question: Why is there not more of this? Why are there not more exhibitions and educational experiences dedicated to revealing these underwater worlds? Several friends confessed that they simply had no idea such ecosystems existed like this, let alone understood the scale of the threats they face. The exhibit does not rely on dire warnings or alarmist language; rather, its impact comes from the immediacy and intimacy of the photographs themselves, which implicitly ask viewers to confront their own lack of awareness.

I have tried to reassure my friends that the information is out there. There are excellent documentaries, scientific publications, and organizations committed to telling these stories and fighting for marine conservation. But, as I explained to them, we need actively seek them out. That is precisely why a temporary exhibition like The Living Sea, running until 5 September 2025, is so valuable. It brings these extraordinary scenes to people who might not otherwise encounter them, right in the center of Milan, in a space where learning and wonder go hand in hand.

For this reason, I commend the Museo di Storia Naturale, Hussain Aga Khan’s Focused on Nature foundation, Marevivo, and the sponsors who made this collaboration possible. Their work demonstrates the power of cultural institutions to expand public understanding, to inspire empathy for the natural world, and to highlight the urgent need for its protection.

It is important to note that The Living Sea is a temporary installation, presented in its own dedicated exhibition space within the museum. Meanwhile, the museum’s permanent collection has been undergoing a significant process of modernization. For many years, despite its remarkable holdings, the permanent exhibits felt static or outdated in their presentation. Yet in recent years there has been a clear, commendable commitment to renewing these displays, making them more engaging, accessible, and reflective of the best practices in museum curation today.

Each renovation raises the standard. Although The Living Sea is a distinct, temporary feature, it is emblematic of the museum’s broader vision: to host world-class partnerships, to embrace ambitious curation, and to serve as a place where science, art, and education converge. Personally, I have long considered the museum’s permanent exhibition on primate and human evolution to be exceptional, in my opinion unmatched in Europe for its scope, clarity, and ability to engage. It remains one of my favorite parts of any visit, offering a rich, carefully constructed narrative that makes complex ideas accessible without sacrificing depth.

I look forward to seeing how the Museo di Storia Naturale continues to build on this progress. As someone committed to ocean conservation and environmental education, I am eager to explore ways for myself and for SEVENSEAS Media to support its future initiatives, events, and outreach. Contributing to the ongoing renewal of the museum’s permanent galleries is essential work, ensuring that scientific knowledge is not merely preserved but shared widely with the public. In doing so, the museum fulfills its highest calling, not simply as a repository of artifacts, but as a living institution dedicated to fostering curiosity, understanding, and a sense of stewardship for the world we all share.

By Giacomo Abrusci, SEVENSEAS Media