REOPENING: 22-23-24/29-30-31 May and from 2 June on the usual opening days and hours
40 years on from his death, MAXXI is dedicating a major retrospective to him that studies and presents his versatility, starting out with an account of his architecture.
REOPENING: from 18 June 2020
A review that ranges from the low-cost housing projects of the post-war years to new experimental and sustainable ways of inhabiting the planet
200 people, 200 portraits of a never seen Gastel. Faces who: «Have passed on something to me, taught me, touched my soul».
The Young Architects Program, launched and coordinated by MoMA, reaches its 8th edition at MAXXI.
Seven leading international designers have been asked to investigate and present their vision regarding seven themes and functions of habitation.
Three canvases combine words, painting and gestures in a critical rethinking of the past as a means of building friendships, solidarity and alliances.
«Time is not linear, it is a marvellous tangle in which, at any moment, ends can be chosen and solutions invented, without beginning or end».
Per la prima volta dopo l’emergenza Covid19 si riuniscono broadcaster provenienti da tutti i continenti. Parte così la settantaduesima edizione del Prix Italia, concorso organizzato dalla Rai per programmi di qualità radio, tv e web.
Donne, diritti umani e società, al MAXXI incontriamo l'artista kosovara sostenitrice della verità.
Un incontro tra letteratura e architettura, tra cambiamento e storia del nostro modo di vivere la casa.
Il virus ha messo allo scoperto la spietatezza del capitalismo e mostra l’impossibilità di salvarsi, se non con l’aiuto reciproco, costringendo a pensare un nuovo modo di coabitare.
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The collections of the MAXXI art present themselves as a strong nucleus that witnesses the national and international artistic production
The MAXXI Architettura collections comprise all those artefacts and documents that, in various ways, represent the material and conceptual complexity of architecture.
The Centro Archivi curates and manages the MAXXI's architecture collections and provides the possibility, inside the Sala Studio, to directly consult the documents and database of its twentieth and twenty-first century collections.
With the my MAXXI card experience the museum full time: unlimited and preferential access, reduced rates to participate to cultural programmes and educational activities
Abbiamo bisogno di poter contare su di una rete di sostenitori, per incrementare la collezione permanente, tutelare la conservazione delle opere e offrire e al nostro pubblico un programma culturale di qualità.
Donate your Cinque per Mille to the MAXXI Foundation
curated by Maria Luisa Frisa, Anna Mattirolo, Stefano Tonchi
Bellissima: Italy and High Fashion 1945-1968 is not a history of high fashion, but, rather, the attempt to reassemble, through the lens of today, the complex and ever-changing image of Italian fashion, in a choral account made up of many exemplary stories that are the very fabric that will give shape and consistency to the great success of the “made in Italy” label.
From the spectacular creations that lit up the grand balls and foyers of the theaters, accompanied by the glittering expressions of the finest jewelry, to the restrained elegance of the cocktail dresses; from the rigorous black and white graphic look, to the chromatic explosion so typical of the 1960s; from the inventions made for the actresses of the so-called Hollywood on the Tiber, to the results of the sophisticated formal research that was the fruit of the intense collaboration between couturiers and artists.
Works by artists including Carla Accardi, Alberto Burri and Lucio Fontana dialogue with the clothes of Emilio Schuberth and theSorelle Fontana, of Germana Marucelli and Mila Schön, of Sarli and Simonetta, of Capucci and Gattinoni, of Fendi, Balestra, Biki, Galitzine, Pucci and Valentino.
The exhibition also features the creations of Bulgari, the most famous Italian jeweller around the world, with a selection of unique pieces displaying great experimentation and stylistic innovation.
BOZAR | Bruxelles
June 5 – September 6 2015
VILLA REALE | Monza
September 24, 2015 – January 10, 2016
NSU ART MUSEUM | Fort Lauderdale – Miami
February 7 – June 19, 2016
Usa l’hashtag #bellissima per seguire e partecipare alla discussione
Ognibene-Zendman Completo da giorno in lana double face, 1967 ca. Day ensemble in wool, reversible, ca. 1967 Courtesy Collezione Enrico Quinto e Paolo Tinarelli
These are the objects that define the urban imaginaries of the modern age. The details of their construction combined with the quality of Italian textiles, the craftsmanship that is juxtaposed with industrial work, underlie the formal solutions that characterize these outfits.
High fashion’s path is also the exploration of this territory, which allowed the great Italian couturiers, between the 1950s and 1960s, to take up the challenge, experiment.
Sequins, fringes, aluminum chainmail, geometric designs in relief that modulate and enliven the synthetic shapes of fashion: the gleam of metal is the emblem of visions of the future, and of that Sixties aesthetic that was projected toward a tomorrow in style so well described in Elio Petri’s The 10th Victim, 1965. Clothing shaped by Pop and Op Art ideas and that foreshadowed the sidereal scenarios of 2001: A Space Odyssey directed by Stanley Kubrik (1968).
…that accompanies the syncopated dances and hyper-graphic poses of the Vogue models, and that moves from the Baroque palazzi of the Roman nobility, to the dance ring at the Piper Club, and the black and white set designs of TV variety shows.
Valentino Abito da sera in raso, linea a toga, interamente bordato con un ricamo di paillettes e strass, indossato da Jacqueline Kennedy Onassis, autunno/inverno 1967-68. One shouldered evening ensemble in satin, edged with an embroidery of sequins and rhinestones, worn by Jacqueline Kennedy Onassis, autumn/winter 1967-68. Courtesy Valentino S.p.a.
But the sumptuous splendor is not exhausted in the decoration: in 1960 the Palazzo Pyjama conceived by Irene Galitzine along with her young collaborator Federico Forquet is highly successful at the Florentine fashion events. The pant and tunic ensemble tells a story of modern noblewomen lying languidly on mountains of pillows in Roman palaces.
Simonetta Abito da cocktail in due pezzi realizzato per il department store californiano I. Magnin & Co., 1955 ca. Etichetta: Simonetta, Roma; I. Magnin & Co. Made in Italy Two-piece cocktail dress, made for the California-based department store I. Magnin & Co., ca. 1955 Label: Simonetta, Roma; I. Magnin & Co. - Made in Italy Courtesy Collezione Enrico Quinto e Paolo Tinarelli
Cocktail dresses tell of the stages in a day of elegance, in which words like “late afternoon” and “early evening” appear, social events that are an almost everyday occurrence, less spectacular than gala events, but no less important to decreeing the success, or lack thereof, of fashionable ladies’ looks.
The names of such lines become more complicated – “blown-glass,” “alternated,” “solar,” “bubble,” “box,” “stem.” Over the course of the 1960s the situations become more relaxed: pants make an appearance, toes become wider, and heels lower and thicker; sometimes a spectacular piece of costume jewelry accompanied by a bejeweled sandal is the real star of the outfit.
Fendi Cappotto doppio petto in visone con lavorazione chevron in tre colori alternati per la parte superiore e bianco assoluto a fasce orizzontali per quella inferiore unita da una zip, autunno/inverno 1960-61 Double-breasted mink coat, with chevron patterns in three alternating colors on the top and full white horizontal bands on the lower section, connected by a zipper, autumn/winter 1960-61 Courtesy Archivio Storico Fendi
The Manichean chromatic rhythm that alternates black and white is the design principle underlying some of the outfits on display, which represent the most successful expressions of Italian high fashion between the 1950s and 1960s, intended not as a place celebrating elite atmospheres, but as an outstanding creative workshop, the space in which to cast light on the poetics of the Italian creators.
Essential and graphic…
Hence, the colors black and white become the X-ray through which to read the qualities of those outfits that more than others experiment with new formal solutions, unexpected lengths, unprecedented combinations of materials.
Some of the most emblematic cases are those of Roberto Capucci, Germana Marucelli, Mila Schön. Creators, who use the design of the outfit as a space in which to reflect upon the languages of contemporary art, and who cultivate a dialogue with artists and are thus transformed into visionary interpreters of the forms of their day and age.
The sartorial interpretation of the uniqueness that is proper to great events, the high fashion outfit is the instrument that marks the rhythm of the wearer’s steps on the red carpet, that breathes life into the foyers of the greatest theaters on opening night, and the rooms of aristocratic palazzi where fancy balls are held.
If between the 1940s and the 1950s the exaggerated volumes in clothing are the surface on which articulate precious embroideries, virtuosities of fine craftsmanship are brought to life, in the 1960s they are transformed into sophisticated architectures of the imagination, aimed at the realization of an impossible construction, a deliberately and obsessively unique and unrepeatable one.
Ingrid Bergman indossa Gattinoni in EUROPA 51 // Gina Lollobrigida indossa gioelli Bulgari, Come September (1961) Directed by Robert Mulligan ©Universal Pictures // Anita Ekberg indossa gioelli Bulgari alla conferenza stampa del film BOCCACCIO 70, 1961
The atelier of Sorelle Fontana provides the scenario for Luciano Emmer’s movie Three Girls from Rome (1952), and also designed by Sorelle Fontana are the outfits that parade by in the Turinese atelier portrayed by Michelangelo Antonioni in The Girlfriends (1955). Nor can we overlook the names of Fernanda Gattinoni, Emilio Schuberth, and later Valentino, Fabiani, Tiziani: these are some of the names that are linked to the glamour of the actresses that represent la dolce vita.
Cinecittà and Hollywood on the Tiber: it’s not just a question of costumes…
Italian and international actresses become loyal clients of the great Roman ateliers, and these couturiers become the privileged referents for the personal wardrobes of such icons as Ingrid Bergman, Ava Gardner, Gina Lollobrigida, Sophia Loren, Audrey Hepburn, Anna Magnani, Silvana Mangano, Kim Novak, Elizabeth Taylor.