A new large display enhances the Collection’s project. On display nine masters, representing the vitality and diversity of artistic research in Italy.
200 people, 200 portraits of a never seen Gastel. Faces who: «Have passed on something to me, taught me, touched my soul».
«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».
MAXXI and Bulgari together for young contemporary art.
Un laboratorio per scoprire l’opera di Mario Schifano nella Collezione del MAXXI.
The exhibition re-opens on Friday, 2 October.
A focus show on the architecture of Louis Kahn through the photographs of Roberto Schezen.
For the first time, MAXXI dedicates a focus to a critic’s archive, direct witness to the radical transformations taking place in art during the 20th century.
An exhibition dedicated to two major architectural prizes
Una guida ai comportamenti più adatti per ciascuna delle diverse "età" dell'organo più importante del corpo umano.
Incontri con i protagonisti delle Collezioni del MAXXI.
Un incontro per approfondire il tema dell’evoluzione della vita della foresta nel suo incontro-scontro con gli obiettivi dell’uomo.
Through video, installation, drawing, photography and performance, the two artists look at the political, cultural and social changes of the contemporary world.
Intelligenza artificiale, veicoli a guida autonoma, tecnologie green, riconoscimento facciale: sembra che il nostro futuro prossimo stia già accandendo in Cina. Ma quante "Cine" esistono in realtà?
PER QUESTO RESTIAMO APERTI.
In attesa di rivederci di persona
IN COMPLIANCE WIRH THE PROVISIONS OF THE LATEST PRIME MINISTERIAL DECREE – 3 NOVEMBER 2020, THE MUSEUM IS CURRENTLY CLOSED.
purchase and choose the date and time of your visit.
Buy online /commission € 1.50
for young people from 14 to 25 years of age (not yet turned); for groups of 15 or more people; journalists registered with a valid identification card; holders of Jewish Museum of Rome entrance ticket; holders of the National Gallery of Modern and Contemporary Art entrance ticket; by presenting card or ID badge for: Accademia Costume & Moda, Accademia Fotografica, Associazione Italiana Ambasciatori del Gusto and family, Atac, Arsity, Biblioteche di Roma, Casa Internazionale delle Donne, Centro Romano di Fotografia e Cinema, Centro Sperimentale di Cinematografia, Consiglio Nazionale degli Architetti, ENAV, Enel, FAI – Fondo Ambiente Italiano, Francesco Olgiati ONLUS, Gruppo GSE employees, IED – Istituto Europeo di Design, IN/ARCH – Istituto Nazionale di Architettura, Istituto Pantheon Design & Technology, ISFCI – Istituto Superiore di Fotografia, Sapienza Università di Roma, LAZIOcrea, Lazio Innova, NABA – Nuova Accademia di Belle Arti, Officine Fotografiche, Ordine degli Assistenti Sociali, Ordine Psicologi Lazio, Palazzo delle Esposizioni, soci Pro Loco, Romaeuropa Festival, RUFA – Rome University of Fine Arts, Accademia Nazionale di Santa Cecilia, Scuola Internazionale di Comics, Teatro Eliseo, Teatro Olimpico, Teatro dell’Opera di Roma, Teatro di Roma, Università degli Studi di Roma Tor Vergata, Università UniCamillus a Roma, Youthcard.
Buy online /commission € 1.50
by presenting the Feltrinelli card.
Buy online /commission € 1.50
valid on Wednesdays from 2 pm for high school and university students from Italy and the European Union – upon presentation of the card/personal booklet.
for all members of families consisting of two adults and at least one child (free for those under 14).
minors under 14 years of age; disabled people requiring companion; MiBACT 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; accredited journalists; myMAXXI membership cardholders; students and university researchers in Art and Architecture from Tuesday to Friday (excluding holidays); on your birthday presenting an identity document; for the entrance to gallery 1, from Tuesday to Thursday; for the entrance to gallery 1 every third Friday of the month, thanks to Acea, from 16 October 2020 to 21 May 2021.
purchase and choose the date and time of your visit. Valid for the entrance to the exhibition in the extra MAXXI.
Buy online / commission € 1.50
possibility of a combined ticket, with a supplement of € 2, showing the MAXXI entrance ticket at the Museum ticket office.
minors under 14 years of age; disabled people requiring companion; Roma PAss; myMAXXI membership cardholders.
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 Giovanna Calvenzi
The exhibition has been extended until 8 September 2019
This exhibition presents an extraordinary chronicler of the Italy of the Fifties and Sixties who published more than 500 photographs in the weekly Il Mondo, portraying created by the famous journalist Mario Pannunzio, protagonists of the worlds of art, culture, fashion and film along with ordinary people.
Paolo Di Paolo (Larino, Molise, DOB. 1925), the extraordinary Italian singer in the fifties and sixties, was capable of telling, with delicacy, rigour, and wisdom, about the country that raised from the ashes of the Second World War.
Among his photos, rediscovered after more that 50 years of neglect, are those of Pier Paolo Pasolini at Monte dei Cocci in Rome, Tennesse Williams on the beach with his dog, Anna Magnani with her son on the Circeo beach, Kim Novak ironing in her room in the Grand Hotel, Sofia Loren joking with Marcello Mastroianni in the Cinecittà studios. And then a family seeing the sea for the first time at Rimini and the devastated faces of the people at the funeral of Palmiro Togliatti.
Main sponsor Gucci
ph. Paolo Di Paolo, Anna Magnani nella sua villa a San Felice Circeo (Roma), 1955, © Archivio Paolo Di Paolo
The section Society/Rome presents the country emerging from poverty and illiteracy in the immediate post- war years with hopes and contradictions; a country in which young women wearing veils and carrying baskets on their heads at Campobasso lived alongside girls in shorts on the seafront at Viareggio, where the agricultural community coexisted with the Ferrari workshops, and donkeys were used as beasts of burden while passengers flew on the new airlines. Particular attention is paid to Rome: Di Paolo photographed the city’s nobility and the sparkling international high society frequenting the capital, working with, among others, Irene Brin at Harper’s Bazaar, but also the funeral of Palmiro Togliatti, with a weeping old lady in the foreground.
Particularly rich sections are devoted to Artists/Intellectuals and Film, with portraits of painters, poets, writers and film stars, mostly previously unseen and taken for pleasure. Lucio Fontana at the Biennale, Carla Accardi in Rome, Renato Guttuso on the Salita del Grillo, Mimmo Rotella creating one of his décollages in Piazza del Popolo, Ezra Pound, Tennessee Williams on the beach with his dog, Giuseppe Ungaretti with a cat in his arms, an unusual portrait of Oriana Fallaci “playing” at being a diva at the Venice Lido, Kim Novak ironing in her room in the Grand Hotel, Sofia Loren joking with Marcello Mastroianni in a studio at Cinecittà, Monica Vitti and Michelangelo Antonioni walking while reading a newspaper, and Simone Signoret and Yves Montand kissing at the Aventino. Then there are the “impossible” encounters captured for the weekly news magazine Tempo: Giorgio De Chirico together with Gina Lollobrigida, Salvatore Quasimodo with Anita Ekberg, Luchino Visconti with Mina, Nilde Iotti with Renato Rascel, and Alberto Moravia with Claudia Cardinale. With each of his portrait subjects, Di Paolo created a relationship based on empathy, trust and complicity that made every shot unique and unmistakeable: “Many of his photos” – writes his daughter Silvia Di Paolo – “remained unpublished because they were so intimate that it would have been inappropriate to give them to the newspapers.” Like those of Yves Montand in Rome, Oriana Fallaci in Venice and Anna Magnani on the beach.
n June 1959 Paolo Di Paolo was in Milan to meet Arturo Tofanelli, the director of the weekly magazine Il Tempo and the monthly Successo, to agree the usual summer service on the holidays taken by the Italians. He already had a proposal for the title, “The long road of sand”. Tofanelli proposed a travel companion, Pier Paolo Pasolini, then considered “a young author”: he had already written Le ceneri di Gramsci, Ragazzi di vita and Una vita violenta but he had not yet become a director. A complex, delicate relationship developed between them, which would bring them together only for the first leg of the journey, from Rome to Ventimiglia, but which would then strengthen into mutual respect and trust. They then set off from Rome towards Ventimiglia, the first reverse leg of the “long road”, with Di Paolo’s car, a MG-TD Bertone Arnolt, but they had different objectives: “He was looking for a lost world, of literary ghosts, an Italy that no longer existed – Di Paolo recalls -, I was looking for an Italy which looked to the future”. They would face the next two legs separately. The extraordinary tale told in images by Paolo Di Paolo would be published only in the three editions planned by Successo, while for the writer The long road of sand would become a text – integrated with sections that the monthly magazine had not used – that was published a number of times.