Monday closed
Tuesday to Sunday 11 am – 7 pm
EARLY TICKET OFFICE CLOSURES
Saturday and Sunday last entry at 5:30 pm
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, Villa Medici: Accademia di Francia a Roma ticket holders; upon presentation of ID card or badge: Accademia Costume & Moda, Accademia Fotografica, Automobile Club d’Italia (ACI), Biblioteche di Roma, Casa Internazionale delle Donne, Centro Sperimentale di Cinematografia, CRAL UniRoma3 APS, Enel (for badge holder and accompanying person), FAI – Fondo Ambiente Italiano, Feltrinelli, IED – Istituto Europeo di Design, IN/ARCH – Istituto Nazionale di Architettura, Interclub Welfare Card, ISFCI – Istituto Superiore di Fotografia, Sapienza Università di Roma, LAZIOcrea, Officine Fotografiche, Ordine dei Medici Chirurghi e degli Odontoiatri, Palazzo delle Esposizioni, Amici di Palazzo Strozzi, Poste Italiane, Rinascente, Accademia Nazionale di Santa Cecilia, Scuola Internazionale di Comics, Teatro Olimpico, Teatro dell’Opera di Roma, Teatro di Roma, UIL – Unione Italiana del Lavoro, Università degli Studi di Roma Tor Vergata, Youthcard
the only open ticket, valid for 100 years, for one admission to the Museum and all current exhibitions
minors under 18 years of age; disabled people requiring companion; EU Disability Card holders and accompanying person; MiC employees; European Union tour guides and tour guides, licensed (ref. Circular n.20/2016 DG-Museums); 1 teacher for every 10 students; ICOM members; AMACI members; journalists (who can prove their business activity); myMAXXI membership cardholders; European Union students and university researchers in Art and Architecture, public fine arts academies (AFAM registered) students and Temple University Rome Campus students from Tuesday to Friday (excluding holidays); 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 – valid for two: Collezione Peggy Guggenheim a Venezia, Castello di Rivoli Museo d’Arte Contemporanea, Sotheby’s Preferred, MEP – Maison Européenne de la Photographie; on your birthday presenting an identity document
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.
18 May 2024 ore 16:00
MAXXIperTUTTIToccare lo spaziotactile lab
19 May 2024 ore 11:00
MAXXIperTUTTISign, body, spaceItalian Sign Language guided tours
19 May 2024 ore 17:00
MAXXI Med performanceMurmur Theoryby Marco Gobbi and Francesco Fonassi
21 May 2024 ore 17:30
conferencePrimo TesoroThe Premio Strega books 1947-2021
22 May 2024 ore 19:00
Le ConversazioniZadie Smith
The Histories of Art return: a series of discussions of the history of contemporary art designed to investigate the past 50 years of Italian art together with its protagonists and the ideas that revolutionised the ways of making and observing art.
From January to May on the third Saturday of each month, gallery owners, curators and art critics will invite the general public to the MAXXI to learn about the neo-avant-gardes, conceptualism and Arte Povera, postmodernism and art in the 21st century.
The talks are not only lessons on contemporary art, but the stories of the leading figures of extraordinary exhibitions that defined the history of contemporary Italian art.
Last appointment
Saturday 18 May, 11.30 – 13.00
Art&Criticism with Michele Dantini
MAXXI Auditorium
tickets €4 – free* for holders of the my MAXXI card
(*based on availability of seating; tickets must be claimed no later than 11.15 on the day of the event)
The post-war history of Italian art is marked by the geo-political and cultural balancing acts of the Cold War and what we might call the “marketing of local identities’. How should we approach an illustrious tradition, our own, if we belong to a nation that suddenly finds itself marginalised? What is Italy’s role in the new world order?
And how can we restore cosmopolitan dialogues after decades of isolation? Far from being a mere “mirror” reflecting what happens, critical discourse plays a full part in the negotiations between artistic culture and political-economic communities. Critics and curators, from Argan to Brandi, from Villa to Arcangeli, from Pistoi to Fossati and Celant, mould collective fantasies and projects of identity to which the artists correspond (or attempt to evade) in the most diverse ways, with figured discourses and congenial techniques.