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.
Summer at the Museum hosts Mahmood’s tour. After his triumph at the 2019 Sanremo Festival, his album Gioventù Bruciata, and the double platinum disc for his single Soldi.
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.
During the "Maria Lai. Tenendo per mano il sole" exhibit, Ulassai, the artist’s birthplace, moves to the Museum.
A fitting tribute to an artist who created, ahead of the latest research into relational art, a language combing sensibility, local traditions and global codes.
Rome-Milan: united by ever faster connections, these two cities are experiencing a cancellation of distances, as if they were both extensions of the other.
The documentary, directed by Jesùs Garcès Lambert, simultaneously on National Geographic and at the Museum for the World Refugee Day.
A day to celebrate music together with impromptu performances and the Le Quattro Stagioni by I Solisti Aquilani.
TUESDAY 11:00 am – 7:00 pm
WEDNESDAY 11:00 am – 7:00 pm
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SUNDAY 11:00 am – 7:00 pm
FIRST SUNDAY OF EACH MONT 11:00 am – 10:00 pm
The ticket office is open until 1 hour before Museum closing.
TUESDAY to SUNDAY 11:00 am – 7:00 pm
FIRST SUNDAY OF EACH MONT 11:00 am – 10:00 pm
The restaurant service is closed temporarily. We are doing our best to restore the service as soon as possible. In the meantime please accept our apologies for any inconvenience caused.
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For “last hour” admissions from 5:30 PM; 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).
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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
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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
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curated by Hou Hanru, Luigia Lonardelli
Now that global communication also means global control, that disciplinary methods are applied to the community in the name of the “war of terror”, that the sharing born out of the Internet and social networks has dismantled our privacy, the word prison takes on very new meanings.
The exponential development of digital technologies, the advent of the social networks and the use of Big Data have progressively and inexorably changed our society and we are witnessing the collapse of the philosophies of social and urban sharing and the establishment of a new regime that in the name of security is stripping us, with our consent, of every intimate and personal space.
Mohamed Bourouissa’s work Temps Mort can be viewed every Saturday from 3pm to 7pm
IVAM – Institut Valencià d’Art Modern | Valencia
November 28, 2017 – April 08, 2018
GIANFRANCO BARUCHELLO – ELISABETTA BENASSI – ROSSELLA BISCOTTI – MOHAMED BOUROUISSA – CHEN CHIEH-JEN – HARUN FAROCKI – CLAIRE FONTAINE – GÜLSÜN KARAMUSTAFA – H.H. LIM – BERNA REALE – SHEN RUIJUN – ZHANG YUE
The prison has entered the iconography of contemporary art from many different angles: social, political, existential, and symbolic. From behind its walls, art has presented the first-hand experience of artists like Gülsün Karamustafa, incarcerated in Turkey in the 1970s, or more recently, Zhang Yue, imprisoned in China. While such works primarily tend to chronicle daily life, in other cases artists have taken a historical outlook, focusing on emblematic examples like the prison of Santo Stefano, one of the first applications of the Panopticon model (in the piece by Rossella Biscotti) or the figure of American activist Angela Davis, who fought to abolish prison (in Elisabetta Benassi’s); for Chen Chieh-Jen, the prison becomes a reflection on the history of his country, springing from personal memories of his childhood in Taiwan. The political subtext of defending human rights becomes explicit in the action of Berna Reale, who brings the light of the Olympic torch into Brazilian penitentiaries. Harun Farocki focuses on the visual mechanisms that govern the space of detention, employing the surveillance cameras of a maximum security prison in Corcoran, California to explore the complex web linking power, technology, and the gaze. Gianfranco Baruchello, on the other hand, explores the dimension of time, through interviews with inmates from the Italian prisons of Rebibbia and Civitavecchia. A similar temps mort turns up in the work of Mohamed Bourouissa, based on a secret collaboration with a prisoner via cell phone. This realism is contrasted with a lyrical transfiguration of the penal universe in the paintings of Shen Ruijun, or the metaphorical aspects explored by H. H. Lim, who evokes the mental cage of self-surveillance in which each of us is imprisoned. The same kind of open-ended meaning can be found in the neon signs of Claire Fontaine, which conjure up disciplinary spaces that unfold into other dimensions.
RÄ DI MARTINO – CARLOS GARAICOA – REM KOOLHAAS and ELIA ZENGHELIS with MADELON VRIESENDORP and ZOE ZENGHELIS – LIN YILIN – JILL MAGID – MIKHAEL SUBOTZKY – SUPERSTUDIO
The prison is not confined to its own walls, but extends into the urban sphere through systems of surveillance and control: today’s cities have become prisons. This theme inspired particular reflection in the 1960s and 1970s, when radical architecture developed a vision designed around utopian ideals. In 1969 Superstudio, one of the first groups to strike out on this path, imagined the “continuous monument,” a global model of urbanization “appearing as the only alternative to nature.” Three years later, Rem Koolhaas, Elia Zenghelis, Madelon Vriesendorp and Zoe Zenghelis proposed walling off an area of London, whose residents become “voluntary prisoners of architecture.” The theme of the wall turns up again more recently in the work by Carlos Garaicoa, who draws inspiration from everyday life to trace the history of walls being used as a symbol of political division, and as a tool of confinement by those in power. The most familiar face of the control system in urban space is its network of CCTV cameras, which soon became a tool in the hands of artists. Mikhael Subotzky, for instance, presents unmanipulated footage from the Johannesburg police. Jill Magid’s work, on the other hand, takes a “human” approach to surveillance devices, seeking “intimate relationships with impersonal structures”: her videos are made in collaboration with the Liverpool City Watch. The urban theater is also used to stage actions and performances. Lin Yilin re-enacts the experience of accidentally witnessing someone being deprived of his freedom, in a test of reactions to extreme behavior that compares two different contexts (Haikou, China and Paris, France). Rä Di Martino also transforms the city (in this case, Bolzano) into the setting for a scene that hovers between reality and fiction: the artist revives the phenomenon of the dummy tanks that were used in the two World Wars for propaganda purposes.
AES+F – JANANNE AL-ANI – SIMON DENNY – OMER FAST – DORA GARCÍA – JENNY HOLZER – TREVOR PAGLEN – ZHANG YUE
Contemporary surveillance can be seen as a phenomenon that pervades everything, bringing the prison outside its own physical domain. Such practices have historically been the basis for authoritarian regimes like the former German Democratic Republic, which is the setting–though never explicitly stated–for the video by Dora García. September 11 marked a paradigm shift in the phenomenon of surveillance, which experts have called “the dominant organizational practice of late modernity.” This new horizon has been particularly explored by artists in the Anglosphere: the American policy of the “war on terror” is the subject of a vast study by Jenny Holzer, who has worked with declassified documents; Edward Snowden’s revelations about the control systems of the National Security Agency inspired Simon Denny’s project, centered on the new technological aesthetic; Trevor Paglen deconstructs the invisibility on which the control apparatus is founded, allowing us to see devices such as satellites or undersea cable systems, with an approach that evokes the tradition of landscape painting and abstraction. Aerial surveillance is one of the areas that has expanded the most in recent years, with the development of a drone aesthetic: Jananne Al-Ani’s work recreates the perspective of this aircraft that has become a symbol of twenty-first-century warfare, investigating various sites in the Middle East; Omer Fast instead recounts a conversation with an American drone pilot, moving between documentary and fiction. Alongside a primarily realistic approach, we also find a more visionary line of exploration. Breathing new life into an iconographic tradition that dates back to at least the sixteenth century, AES+F imagines an upside-down universe where the roles of torturer and victim are reversed. Zhang Yue pictures future wars, or even an over-the-top plan to destroy the United States.