for young people aged between 14 and 25 (not yet turned 25); for groups of 15 people or more; registered journalists with a valid ID card; Museo Ebraico di ROma ticket holders; La Galleria Nazionale d’Arte Moderna e Contemporanea ticket holders; with presentation of ID card or badge: Accademia Costume & Moda, Accademia Fotografica, Biblioteche di Roma, Casa Internazionale delle Donne, Centro Sperimentale di Cinematografia, Enel (for badge holder and accompanying person), FAI – Fondo Ambiente Italiano, IED – Istituto Europeo di Design, IN/ARCH – Istituto Nazionale di Architettura, Interclub Welfare Card, ISFCI – Istituto Superiore di Fotografia, Sapienza Università di Roma, LAZIOcrea, NABA – Nuova Accademia di Belle Arti, Officine Fotografiche, Ordine degli Assistenti Sociali, Ordine dei Medici Chirurghi e degli Odontoiatri, Ordine Psicologi Lazio, Palazzo delle Esposizioni, Rinascente, Romaeuropa Festival, RUFA – Rome University of Fine Arts, Accademia Nazionale di Santa Cecilia, Scuola Internazionale di Comics, Teatro Olimpico, Teatro dell’Opera di Roma, Teatro di Roma, Università degli Studi di Roma Tor Vergata, Youthcard. buy online
valid on Wednesdays from 2 p.m. for high school and university students, Italian and from the European Union – on presentation of the personal card/booklet. buy online
minors under 14 years of age; disabled people requiring companion; MiC 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); IED – Istituto Europeo di Design professors, NABA – Nuova Accademia di Belle Arti professors, RUFA – Rome University of Fine Arts professors; on your birthday presenting an identity document; for the entrance to gallery 1, from Tuesday to Thursday; for the entrance to gallery 1 every Friday until 28 May 2021, thanks to Acea. book online
MAXXI’s Collection represents the museum’s founding element and it determines its identity. From October 2015 the display is permanent with several pathways.
“The world needs to be depixelated”, Thomas Hirschhorn.
This is one of Thomas Hirschhorn’s phrases to describe the «Pixel-Collages», an impressive cycle of works created between 2015 and 2017. For the first time, they are grouped, following a layout designed by the artist, on a very long purple wall – The Purple Line – that runs through gallery 3. A project that seeks to show the invisible renegotiates the exhibition context and stimulates the viewer to remain vigilant and aware.
This research’s power lies in making us reflect on the control of images, on their authentication as “facts”, on the possibility of making visible the portions of reality that are subtracted from our gaze through pixelation, a technique in which the image becomes unrecognisable. These works, created by recombining advertising photos alongside pictures of mutilated bodies, often create embarrassment in the viewer, making us reflect on a concept the artist has often expressed: the spread of hypersensitivity in the contemporary world.
Hirschhorn is looking for a state of sensitivity, given by a gaze that remains vigilant and aware of what is around it, without denying it; hypersensitivity, on the other hand, often leads to censorship is paradoxically linked to self-protection and exclusion of the other.
header: “Pixel-Collage n°46”, 2016 (studio view) , 345 x 636 cm, courtesy the artist.
“The world needs to be depixelated”, Thomas Hirschhorn.
This is one of Thomas Hirschhorn’s phrases to describe the «Pixel-Collages», an impressive cycle of works created between 2015 and 2017. For the first time, they are grouped, following a layout designed by the artist, on a very long purple wall – The Purple Line – that runs through gallery 3. A project that seeks to show the invisible renegotiates the exhibition context and stimulates the viewer to remain vigilant and aware.
This research’s power lies in making us reflect on the control of images, on their authentication as “facts”, on the possibility of making visible the portions of reality that are subtracted from our gaze through pixelation, a technique in which the image becomes unrecognisable. These works, created by recombining advertising photos alongside pictures of mutilated bodies, often create embarrassment in the viewer, making us reflect on a concept the artist has often expressed: the spread of hypersensitivity in the contemporary world.
Hirschhorn is looking for a state of sensitivity, given by a gaze that remains vigilant and aware of what is around it, without denying it; hypersensitivity, on the other hand, often leads to censorship is paradoxically linked to self-protection and exclusion of the other.
header: “Pixel-Collage n°46”, 2016 (studio view) , 345 x 636 cm, courtesy the artist.