6 Nadcházející události

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The central theme of the new setting-up of the architecture collections is the evolution that the concept of inhabiting has been undergoing since the aftermath of the Second World War, analysed through the works of the great masters of the 20 th century and the new emerging figures in the landscape of international architecture. The setting-up of the exhibition is based on the overlapping of various paths and links the various scales of the act of inhabiting, from the individual to the collective, with specific reference to the more complex and hybrid experiences that bear witness to the new relationships between individuals and communities. The constant dialogue between masters and young architects, made possible by their works, provides a further interpretation.

This exhibition presents an extraordinary chronicler of the Italy of the Fifties and Sixties who published more than 500 photographs in the weekly Il Mondo, portraying created by the famous journalist Mario Pannunzio, protagonists of the worlds of art, culture, fashion and film along with ordinary people.

The exhibition features slides, colour photos, vintage prints, correspondence and proofs, documents recounting the complexity of the creative process. In particular, the exhibition investigates the relationship between the photography of Elisabetta Catalano and performance art, presenting portraits of a number of artists including Joseph Beuys, Fabio Mauri, Vettor Pisani and Cesare Tacchi during the preparatory phases of the performative process.

Paola Pivi (1971) Leone d’Oro at the Biennale of Venicein 1999, presents to MAXXI a project site specific, immersive and engaging, where there are a succession of historical works and more recent works between sculpture and installation. Paola Pivi’s works, which range from monumental installations to minimal interventions, appropriate spaces and turn them into artistic contexts and moments characterised by specific material, formal, ludic, ironic and surprising features. With this project, MAXXI continues its research work and enhancement of significant Italian artists In the international art scene, promoting their knowledge also to the general public.

Among archive documents, pictures, project drawings and direct testimonies,a physical and hystorical path, which allows to end up dentro la Strada Novissima): a collective experience orchestrated byPaolo Portoghesi /em> on the occasion of the First international architectural exhibition of the Venice Biennale, which opened to the public on 27th July 1980 and was entitled La Presenza del Passato (The Presence of the Past). The Strada Novissima was motivated by the desire to propose a reflection on the urban street through a 70-meter path, ten façades of full scale houses per side, designed by just as many architects including Frank O. Gehry, Rem Koolhaas, Hans Hollein, Franco Purini, Arata Isozaki, Robert Venturi, Ricardo Bofill, GRAU. On the occasion of the big exhibition La Strada, we propose an insight on this crucial moment of the architectural history of the Nineties, when the street became the concrete image of a different way to conceive architecture, definitively overcoming the dogmas of the Modern Movement.

The spirit and the identity of the museum are being renewed with the latest presentation of the MAXXI Collection: on display are more than 30 worksby a total of 26 artists in a major group show that opens with a section dedicated to some of the 70 new acquisitions, including those by Monica Bonvicini, Katharina Grosse and Paolo Di Paolo, which have in 2018 enriched the museum’s holdings and which are part of a policy of expansion, valorization and safeguarding of the collection. In the second part of the gallery are more than 20 works, including pieces by Bill Viola, Giulio Turcato, Alighiero Boetti, Pablo Echaurren, Pei-Ming, Labics and Aldo Rossi reflect on the status of the work of art, the image and its perception in relation to space. With analogic instruments and new technologies, the thematic exhibition intends on the one hand to highlight the works’ strong link to painting and its traditions and on the other create a counterpoint between the abstract and the figurative.

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