The post Maria Giuseppina Grasso Cannizzo. IN COLLISIONE first appeared on MAXXI.

The post Alla scoperta del MAXXI first appeared on MAXXI.

Riccardo Dalisi’s path is rich and articulated, making interdisciplinarity his cultural reference point. Thus was born La Sedia del cece (The Chickpea Chair). This project sees the participation of artists, architects, writers and designers, called upon by Dalisi to interpret with a creative contribution the wooden model of a chickpea chair made by a little girl. Published on the occasion of the exhibition at MAXXI, the book includes drawings, manuscripts and typescripts by Dalisi himself, as well as sketches by some thirty authors – including Jannis Kounellis, Umberto Eco, Gae Aulenti and Bruno Munari – dedicated to the Chickpea Chair. At the same time, Gabriele Neri’s essay outlines the architect’s path, contextualising the Chickpea Chair in the context of the research of the time, while many authors contemporary with Dalisi recount their views on this project. A composite panorama of contemporary creativity emerges a portrait that unites different voices and experiences united by the same propensity for listening, participation and dialogue.

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The post JACOVITTISSIMEVOLMENTE. L’incontenibile arte dell’umorismo first appeared on MAXXI.

The post Marco Tamburro. Gemelli first appeared on MAXXI.

The post inGenio. Idee visionarie dall’Archivio di Sergio Musmeci first appeared on MAXXI.

The post Archivio Ugo Ferranti. Roma 1974-1985 first appeared on MAXXI.

Published on the occasion of the major exhibition dedicated to Mario Cresci, this volume is a visual tale that focuses on the author’s work in Southern Italy, starting from a detailed field research where investigations on the territory, people’s identity and material culture intertwine, leading to an unprecedented visual meditation on time. The result is a vast collective portrait in black and white that mainly depicts domestic interiors, family groups and everyday objects, conceived as true archives of memory. Images, essays and biographical notes trace a profile of Mario Cresci that eludes any kind of categorisation, a work of compelling topicality focused on listening to and understanding the other.

The post Mario Cresci. An Exorcism of Time first appeared on MAXXI.

Published on the occasion of the major exhibition at MAXXI The Poet and the Magician, this catalogue documents Enzo Cucchi’s universe in all its richness and extraordinary versatility: works on paper, books, paintings, and sculptures that combine painting, terracotta, ceramics, marble and bronze, nets and irons. Texts with different registers are interwoven within the publication to restore the complexity of a visionary artist who is difficult to define. Bartolomeo Pietromarchi’s essay analyzes Enzo Cucchi’s production in light of his latest research. At the same time, Luigia Lonardelli’s text outlines the exhibition itinerary by placing it within the open and an anhistorical approach chosen to guide the exhibition. Denis Viva delves into the scope of Transavanguardia and its relationship with Cucchi’s research, Valerio Magrelli probes the connections with the world of literature and the presence of the written word in his work, Mario Finazzi attempts an impossible interview with the artist. At the same time, Giulia Lopalco outlines his biographical profile. The volume is enriched by an anthology of poetic texts loved by the artist and a list of books selected for the exhibition from his library, with a reading by Francesco Longo. Extensive inserts of photographs punctuate the textual apparatus, more than 100 images of artworks created from the 1970s to the present, as well as views of exhibitions, installations and documentation photos. The result is a composite portrait of an artist spanning different eras and styles amid references to poetry, literature and art history.

The post Enzo Cucchi. The Poet and the Magician first appeared on MAXXI.

Published on the occasion of the exhibition Territories of performance: processes and practices in Italy (1967-1982), this volume is the first survey of performance research in Italy between the 1960s and 1970s, a never-before-seen mapping of the places identified through analysis of archives and sources. In addition to the works on show, documented with texts, images and audio tracks that can be downloaded through dedicated QR codes, the volume includes texts by curators Lara Conte and Francesca Gallo. These two in-depth essays offer complementary readings on the subject. At the same time, Giulia Pedace’s contribution contextualises the exhibition project in the context of the activity promoted by the MAXXI Arte Archive Centre, which from 2010 to the present, has collected the documentation of performances, historical actions and reenactments held at the museum. The result is a choral narrative that traces our country’s cultural vitality and polycentrism from the late 1960s to the early 1980s.

The post Territories of performance: processes and practices in Italy (1967-1982) first appeared on MAXXI.