The new presentation of the collection begins in the museum piazza and proceeds without interruptions on the ground floor.
A detailed overview of the artistic and cultural scene of the African continent.
MAXXI and Bulgari together for young contemporary art with the Award that this year is renewed and is projected on the international art scene.
Un modo diverso per vivere il museo, abbandonandosi al movimento e lasciandosi ispirare dalla musica.
Trees and plants for a wild oasis in the museum piazza, thanks to the project organized in collaboration with the Museum of Modern Art of New York, within the ambit of the Young Architecture Program.
The first solo exhibition in Europe for the artist who won the Deutsche Bank’s Artist of the Year 2018-2019.
Some of the emblematic works that sanctified Dario Passi’s abandonment of architecture in favour of painting.
Poetic documentary films where personal stories intertwine with collective accounts.
The story of the Italian sound avant-garde through photographs, films, videos, historical posters, original LPs and audio contributions.
A major exhibition uniting old masters and contemporary art.
A symbolic map of the practices that inhabit the ever-expanding independent national scene, with a selection of eight projects.
Un percorso multimediale tra il continente africano e il futuro.
An exhibition with the candid shots of the world’s most famous photo reporter
Dal 18 al 28 ottobre tutti gli eventi ospitati al MAXXI della tredicesima edizione della Festa del Cinema di Roma.
Un evento dedicato alla scuole secondarie per presentare il cortometraggio vincitore del bando MigrArti.
Un progetto performativo esperienziale itinerante attraverso tre centri d’arte e cultura di Roma.
An exploration of the technological and surreal imaginary of the artists of today, from computer-generated dreams to creative algorithms and avatars that question the meaning of existence.
Un ciclo di appuntamenti nell'ambito del programma dedicato alla videoarte.
On Saturday 13 October the museum will be open with free admittance from 11am to 10pm (last entries at 9pm)
for all those under 30 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 students (over 14 years old) in class groups (secoind level secondary schools) purchasing educational activities.
valid for two entrances on two consecutive days.
under 14 years old, disabled visitors requiring accompaniment, companions of disabled visitors, MiBAC employees, Lazio Region tour guides and couriers, 1 teacher for every 10 students, ICOM members, AMACI members, accredited journalists, MAXXI membership card holders; from Tuesday to Friday, free admittance for academics and university researchers in Art and Architecture;on your Birthday. Free admittance to the Permanent Collection (Level 0) from Tuesday to Friday and every first Sunday of the month. Click here for more information
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, educational activities and special events.
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.
Donate your Cinque per Mille to the MAXXI Foundation
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.