Milan’s historic Braidense Library, a repository of centuries of knowledge, recently hosted an unusual gathering: a high-intensity dance cardio workout led by celebrity trainer Isaac Boots. The event, a collaboration between Boots and Italian skincare brand Irene Forte Skincare, drew a small group of influencers to the Palazzo di Brera, sparking both curiosity and concern about the intersection of cultural preservation and modern wellness trends. The scene – mats, weights, and skincare products amidst ancient volumes – quickly circulated on social media, raising questions about the appropriateness of such an event within the hallowed halls of a national library.
The Braidense National Library, founded in 1770 by Maria Teresa of Austria and opened to the public in 1786, holds a significant place in Italian cultural history. Originally built upon the donation of Count Carlo Pertusati’s library, it expanded through the dissolution of the Society of Jesus and acquisitions from other collections, including those of Albrecht von Haller and Cardinal Angelo Maria Durini. Today, the library boasts a vast collection of historical, literary, and scientific works, serving both as a research institution and a public resource. Its current role within the Pinacoteca di Brera museum system, since 2015, highlights a broader effort to engage new audiences, but also raises questions about balancing accessibility with preservation.
Boots, a choreographer and Broadway dancer, brought his signature “Torch’d Workout” to the library’s Hall of Maria Theresa of Austria. A video posted online shows participants performing energetic dance moves with weights, accompanied by upbeat music. Irene Forte Skincare, known for its natural ingredients, provided products for the attendees, and the Carlton Milan, a Rocco Forte Hotel, reportedly hosted the guests. The event was intentionally limited in size, but its visibility on social media quickly amplified the discussion surrounding its location.
A Balancing Act: Revenue, Reach, and Risk
The workout session has ignited a debate about the role of cultural institutions in the 21st century. Angelo Crespi, director of the Pinacoteca di Brera and the Braidense Library, defended the event as a necessary step towards financial sustainability. According to an interview with Artribune, the library “practically no longer receive[s] public funds,” and even returns funds to the state even as generating revenue through visitors, and events. In 2025, the library reached a record 630,000 visitors, a figure Crespi highlighted as evidence of successful outreach. He argued that similar events are common at major museums worldwide, like the Louvre and the Metropolitan Museum of Art, and that the library was closed to the public during the hour-long session.
However, the event also drew criticism from those concerned about the potential impact on the library’s delicate collection. Angelo Mazzone, of the Milano Segreta social media account, expressed concerns about increased temperature and the presence of acidic substances from sweat potentially damaging the ancient books. These concerns reflect a broader discussion about the risks associated with hosting events in sensitive cultural spaces.
A Precedent? Past Controversies and Shifting Perspectives
Crespi acknowledged a past instance where he was critical of similar events at other institutions, specifically referencing yoga sessions hosted by Giovanna Melandri at the MAXXI museum. He explained that his perspective has evolved, recognizing the need for museums to explore new revenue streams and engage wider audiences. This shift in thinking reflects a growing trend among cultural institutions to seek alternative funding models and embrace innovative programming.
The Braidense Library’s foray into wellness events isn’t entirely new. Museums and libraries globally are increasingly experimenting with unconventional programming to attract visitors and generate income. From after-hours yoga classes to themed dinners, these initiatives aim to broaden appeal and ensure financial viability. However, the choice of location – a historic library housing irreplaceable artifacts – has amplified the scrutiny surrounding this particular event.
Looking Ahead: Balancing Preservation and Public Engagement
The Braidense Library’s experiment raises crucial questions about the future of cultural institutions. How can these spaces balance their core mission of preservation with the need to attract visitors and generate revenue? What are the acceptable limits of commercial activity within historically significant buildings? The answers are likely to vary depending on the institution, its collection, and its community.
Crespi indicated that the library will continue to explore innovative ways to engage the public and secure its financial future. The next major event on the calendar is a planned exhibition focusing on the library’s historical maps, scheduled to open in the fall. Further details about the exhibition, including dates and ticket information, will be announced on the Braidense Library website in the coming weeks. The library’s ongoing efforts to adapt to a changing landscape will undoubtedly be closely watched by cultural institutions worldwide.
What do you think? Should cultural institutions embrace unconventional events to generate revenue, or should they prioritize preservation above all else? Share your thoughts in the comments below.
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