Ambiènte Archìvio
the exhibition’s closing has been extended to Sunday 3 November 2024
foyer Carlo Scarpa
single ticket valid until 17 April, for all ongoing exhibitions, due to the refurbishment of 2 galleries
– for young people aged between 18 and 25 (not yet turned 25);
– for groups of 15 people or more;
– La Galleria Nazionale, Museo Ebraico di Roma ticket holders;
– upon presentation of ID card or badge: Accademia Costume & Moda, Accademia Fotografica, Biblioteche di Roma, Centro Sperimentale di Cinematografia, Enel (for badge holder and accompanying person), FAI Fondo Ambiente Italiano, Feltrinelli, Gruppo FS, IN/ARCH Istituto Nazionale di Architettura, Sapienza Università di Roma, LAZIOcrea, Palazzo delle Esposizioni, Amici di Palazzo Strozzi, Accademia Nazionale di Santa Cecilia, Scuola Internazionale di Comics, Teatro Olimpico, Teatro dell’Opera di Roma, Teatro di Roma, Università degli Studi di Roma Tor Vergata, Youthcard;
– upon presenting at the ticket office a Trenitalia ticket to Rome purchased between 27 November 2024 and 21 April 2025
valid for one year from the date of purchase
– minors under 18 years of age;
– myMAXXI cardholders;
– on your birthday presenting an identity document;
– upon presentation of EU Disability Card holders and or accompanying letter from hosting association/institution for: people with disabilities and accompanying person, people on the autistic spectrum and accompanying person, deaf people, people with cognitive disabilities and complex communication needs and their caregivers, people with serious illnesses and their caregivers, guests of first aid and anti-violence centres and accompanying operators, residents of therapeutic communities and accompanying operators;
– MiC employees;
– journalists who can prove their business activity;
– European Union tour guides and tour guides, licensed (ref. Circular n.20/2016 DG-Museums);
– 1 teacher for every 10 students;
– AMACI members;
– CIMAM International Committee for Museums and Collections of Modern Art members;
– ICOM members;
– from Tuesday to Friday (excluding holidays) European Union students and university researchers in art history and architecture, public fine arts academies (AFAM registered) students and Temple University Rome Campus students;
– IED Istituto Europeo di Design professors, NABA Nuova Accademia di Belle Arti professors, RUFA Rome University of Fine Arts professors;
– upon presentation of ID card or badge: Collezione Peggy Guggenheim a Venezia, Castello di Rivoli Museo d’Arte Contemporanea, Sotheby’s Preferred, MEP – Maison Européenne de la Photographie;
for groups of 12 people in the same tour; myMAXXI membership card-holders; registered journalists with valid ID
under 14 years of age
disabled people + possible accompanying person; minors under 3 years of age (ticket not required)
MAXXI’s Collection of Art and Architecture represents the founding element of the museum and defines its identity. Since October 2015, it has been on display with different arrangements of works.
the exhibition’s closing has been extended to Sunday 3 November 2024
foyer Carlo Scarpa
How many ways and with what expressions has the relationship of work with space been defined? Environment, immersive work, and environmental work are just some of the many definitions used in an attempt to explain processes and developments in the relationship between art, space, and environment.
Ambiènte Archìvio, through a selection of materials from the Centro Archivi Arte, recounts the development of space-environmental research through the different declinations of the term environment, migrated and consolidated in the historical-critical lexicon. The study proposes a mapping of the words used in the lexicon of art from Lucio Fontana’s Ambiente spaziale a luce nera (1949) to Zaha Hadid’s museo-ambiente (2010).
The exhibition focuses on three semantic macro-areas defined according to three possible declinations of the term: Space-environment, the first experimental phase in which the artists measure themselves in the design phase with the passage from the work-object to the work-environment; Perception-environment, a chapter that accommodates an immersive, experiential, performative dimension involving other disciplines, leaving the spaces of galleries and museums to reconnect with urban and social space, up to the canonisation of environmental art with the 1976 Venice Biennale; Dimension-environment, a moment of transition in which the term “installation” appears more and more frequently with all its variations and lexical derivations, connoting an increasingly evident relationship between the work and the context in which it is set up.
header: Graziella Lonardi Buontempo in Gino Marotta’s room, 1970, Vitalità del Negativo, Rome, Palazzo delle Esposizioni. Photo Cristina Ghergo. MAXXI Arte Archive Centre, Incontri Internazionali d’Arte Fund. Courtesy Fondazione MAXXI.