Monday closed
Tuesday to Sunday 11 am – 7 pm
Sunday 24 December 11 am > 4 pm
Monday 25 December closed
Tuesday 31 December 11 am > 4 pm
Wednesday 1 January 11 am > 7 pm
Monday 6 January 11 am > 8 pm
for young people aged between 18 and 25 (not yet turned 25); for groups of 15 people or more; La Galleria Nazionale, Museo Ebraico di Roma ticket holders; upon presentation of ID card or badge: Accademia Costume & Moda, Accademia Fotografica, Biblioteche di Roma, Centro Sperimentale di Cinematografia, Enel (for badge holder and accompanying person), FAI – Fondo Ambiente Italiano, Feltrinelli, Gruppo FS, IN/ARCH – Istituto Nazionale di Architettura, Sapienza Università di Roma, LAZIOcrea, Palazzo delle Esposizioni, Amici di Palazzo Strozzi, 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; upon presenting at the ticket office a Frecciarossa or a Frecciargento ticket to Rome purchased between 27 November 2024 and 20 April 2025
valid for one year from the date of purchase
minors under 18 years of age; disabled people requiring companion; EU Disability Card holders and accompanying person; MiC employees; myMAXXI cardholders; registered journalists with a valid ID card; European Union tour guides and tour guides, licensed (ref. Circular n.20/2016 DG-Museums); 1 teacher for every 10 students; AMACI members; CIMAM – International Committee for Museums and Collections of Modern Art members; ICOM members; journalists (who can prove their business activity); European Union students and university researchers in art history and architecture, public fine arts academies (AFAM registered) students and Temple University Rome Campus students 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; upon presentation of ID card or badge: Collezione Peggy Guggenheim a Venezia, Castello di Rivoli Museo d’Arte Contemporanea, Sotheby’s Preferred, MEP – Maison Européenne de la Photographie; on your birthday presenting an identity document
MAXXI’s Collection of Art and Architecture represents the founding element of the museum and defines its identity. Since October 2015, it has been on display with different arrangements of works.
13 Dec 2024 04.30 pm
talkAldo Rossi. Ecologieby Vincenzo Moschetti
13 Dec 2024 06.30 pm
talk40 anni di Viaggio in Italia
18 Dec 2024 04.30 pm
visita guidata gratuita per i docentiThe Large Glass
14 Jan 2025 06.30 pm
lectureIn movimento: danza, coreografia, architetturawith Susanne Franco
15 Jan 2025 06.00 pm
talkAnalisi, distruzione e rinnovamentowith Monia Ben Hamouda
12 Feb 2025 06.00 pm
talkConversazioni sull’aldilà digitalewith Riccardo Benassi
Expanded Video presents an Italian preview of a number of video works and live performances by Jacob TV, Masbedo, Martha Colburn and People Like Us (aka Vicki Bennett).?
Organized in collaboration with the Music for Rome Foundation, the series arises from the confrontation and interaction between different forms of creativity that define a common idiom in which listening and seeing become analogous and equivalent episodes.?The works of the selected artists, in which the diverse idioms fuse and integrate perfectly, are linked by a shared emancipation from the ties and conventions of the individual media. Sound becomes narration and the image dissolves in an ever-different rhythm.
19 May, 20.30
Martha Colburn – DOLLS VS. DICTATORS
Thollem McDonas: piano; Greg Saunier: drums
MAXXI, Gallery 5
Martha Colburn mainly works by animating two-dimensional images: cuttings from newspapers, images drawn from the most diverse media and figures specifically created by her, old 8 and 16 mm film to create a fantastic world in which the anxiety of the real is always present.
MARTHA COLBURN – Dolls VS Dictators, 2010 – 11′
LAST PERFORMANCE
24 May, 21.00?
People Like Us – GENRE COLLAGE ?
Auditorium Parco della musica, Teatro Studio?
People Like Us, through the use of sounds and images familiar to us succeeds in producing a new emotional location, an intentional violation of the narrative continuity, assembling scenes that no longer correspond to a tranquil cinematographic sequence.