A renewal at the heart of the museum with a new set- up of the permanent Collection
Three great photographers recount a changing landscape
A delicate, rigorous and wise recount of an Italy emerging from the ashes of the Second World War.
A captivating site-specific project in which historic works alternate with more recent sculptures and installations.
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
The masterpieces of the IVAM collection.
Una speciale visita a partire dalla mostra “At Home. Progetti per l’abitare contemporaneo” per poi proseguire con un tour a Casa Baldi
An insight on 1980 exhibition which started the international debate on post-modern
A new focus presentation of the MAXXI archives this time featuring a great photographer
Tra esperienza reale e fruizione digitale il progetto “Flashing and flashing!” espande lo spazio espositivo.
Quali sono le storie che una città è in grado di raccontare e come si può ripensare la nostra relazione con lo spazio urbano?
Un percorso guidato alla Collezione permanente e alla mostra Al norte de la tormenta.
Ten years of performances by the artist Iginio De Luca: twenty blitzes and non-authorised urban raids in the public space of the capital city.
The landscape is a space of innovation and sharing, useful for creating “emotionally performative” natures.
Un incontro tra riflessioni ed esperienze sulla relazione fra design e territori.
IST. FEST. ROME mette insieme alcune delle menti più talentuose e creative del mondo in uno stimolante programma di panel, talk, mostre, performance, proiezioni e workshop.
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TUESDAY to SUNDAY 9:30 am – 7:00 pm
FIRST SUNDAY OF EACH MONT 9:30 am – 10:00 pm
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For young people of between 14 and up to 25 years of age; for groups of at least 15 people and affiliated groups; accredited journalists with a valid press pass; FAI – Fondo Ambiente Italiano members; holders of Bibliocard – Biblioteche di Roma; holders of entrance tickets for the Museo Ebraico of Rome; holders of entrance tickets for La Galleria Nazionale; Enel employees and a companion, on presentation of the corporate card and a valid identity document; Consiglio Nazionale degli Architetti members; Associazione Italiana Ambasciatori del Gusto members and relatives; holders of Pro Loco membership card
For all members of families composed of two adults and at least one child (free for under-14s).
For “last hour” admissions from 5:30 PM and from 8:30 PM on Saturdays; Wednesday from 2:00 PM for Italian and European Union high school and university students – subject to the showing of personal student cards or documents, students (o9ver 14 years of age) for class groups (second level secondary schools) acquiring MAXXI educational activities; for entrance to videogallery screenings (free with the purchase of a full or reduced price entrance ticket).
Valid for two entrances on two consecutive days.
Valid for the exhibition at Extra MAXXI
Full price ticket, valid for both museum entrance and exhibition at Extra MAXXI
Reduced price ticket, valid for both museum entrance and exhibition at Extra MAXXI.
For all those under 25 years of age; for groups of at least 15 people and affiliated groups; accredited journalists with a valid press pass; FAI – Fondo Ambiente Italiano members; holders of Bibliocard – Biblioteche di Roma; holders of entrance tickets for the Museo Ebraico of Rome; holders of entrance tickets for La Galleria Nazionale; Enel employees and a companion, on presentation of the corporate card and a valid identity document; Consiglio Nazionale degli Architetti members; Associazione Italiana Ambasciatori del Gusto members and relatives; holders of Pro Loco membership card
Valid with the MINI tariff
Under 14 years old, disabled visitors requiring accompaniment, companions of disabled visitors, MiBAC employees, European Union tour guides and couriers, 1 teacher for every 10 students, ICOM members, AMACI members, accredited journalists, MAXXI membership card holder; from Tuesday to Friday, free admittance for academics and university researchers in Art and Architecture; on your Birthday; for entrance to the permanent collection, from Tuesday to Thursday and the first Sunday of every summer month; for women on 8 March.
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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
We need to be able to count on a network of benefactors, both in Italy and abroad, to enhance the museum’s permanent collection, guarantee the conservation of the works and present our public with an engaging cultural programme.
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curated by Hou Hanru, Bartolomeo Pietromarchi and Marco Scotini
With over 60 works, from the famous Nature-carpets to the interactive installations and through to the Living Art Park of Turin, along with important pieces exhibited for the first time in years or reconstructed for the occasion, the exhibition reviews the career of a master for whom art and life are identified with and become militant commitment, starting out from that as an ecologist.
From the complex relationship between man and nature, it investigates the era of consumerism and the use of new technologies in a presentation tackling and exploring themes such as ecology, the relational nature of art and social and political commitment.It is divided into four sections, each of which includes both works and archive materials (sketches, texts, original photographs, small works) allowing a comprehensive overview of the artists thinking and poetic.
The first section is devoted to work from the Sixties and includes, alongside Macchina per discorrere from 1963 (one of the artist’s first works), a device through which one can speak that seems to have come from the future, Terrazza, a structure similar to a stilt house, created for the 1966 exhibition Arte Abitabile at the Galleria Sperone in Turin and reconstructed for the first time for this show. Then there are the Nature-carpets that have made him famous, sculptures in expanded polyurethane, hyperrealistic but artificial representations of natural scenes, a kind of “disguise”, a ritual exorcising the death of nature, Igloo (1964) which the public could enter and sit down and a number of Natur-clothes created for performances presenting man’s original relationship with the natural world, all works that lead back to the idea of art that is usable and “habitable” by the public.
The third section features Gilardi’s political animations, from the Sixties to the present, some of which are on show in a museum of the first time.When, in the late Sixties, he realised that militancy did not enjoy the space in the world of art he had hoped for, Gilardi lost interest in the production of “works of art” and devoted himself to creating “useful” works in the political and social ambit, working in psychiatric institutions, factories and working class areas and collaborating with the student movement. This section features Andreotti Volante (1977) and the mask of Agnelli (1977) used in protests in the Seventies, the Masso della Crisi (2012), an inflatable made for the May 1st march, and numerous other projects and costumes made to criticize the political class, defend the environment and civil rights, arouse awareness of peace and tolerance in what has been defined as a “carnivalization” of the artist’s world.
The floor of Gallery 3, completely covered with artificial turf, features works such as Ipogea (2010), a cavern that offers the possibility of an evocative exploration, Aigues Tortes (2007), a log on which you can sit and listen to the sounds of the natural park in Spain from which it takes its name. These works are part of that strand of research that from the 1980s led the artist to adopt technology allowing the spectator to actively participate by interacting with the art. Also on show is the multimedia work Inverosimile (1989), presented on the cusp between the Eighties and Nineties at the Castello di Volpaia and in New York, Paris and Lyon and now exceptionally reinstalled for the first time in an Italian museum.This large-scale interactive installation,which is activated by the breath of the spectators and moves and produces sounds, represents a vine in expanded polyurethane that, like the Carpets, present an image of an evidently artificial nature, a total, immersive and interactive environment which the public is invited to enter for a multi-sensorial experience. Sitting on the large green patch of grass the works of this section come together to reproduce the context of the PAV Parco Arte Vivente, Gilardi’s lifelong commitment to creating a community of eco-art.
The fourth and final section presents Gilardi the curator and critic. Between 1967 and 1969 the artist made numerous trips to the United States, Sweden, Holland, Germany and Britain; he was a correspondent for Flash Art, the American Arts Magazine, the Swedish Konstrevye and the French Robho; he was in contact with a multitude of artists. Less known is his role in the staging of two fundamental exhibitions in 1969: When attitudes become form and Op Losse Schroeven curated respectively by Harald Szeeman and Wim Bereen. This extremely intensive period is illustrated through archive materials recounting Gilardi’s abandoning of the “art system” in favour of more direct action “within life”, as shown in his political and social work and the project for PAV Parco Arte Vivente, Turin’s Living Sculpture Park, a Contemporary Art Centre, a “museum beyond the museum” opened in 2008 and conceived as single living organism that rather than possessing traditional works is a naturalistic area studded with installations to be constantly tended to through cultural animation and gardening.