MAXXI RE-EVOLUTION

THE PERMANENT COLLECTION AT THE CENTRE: TRIPLING THE SPACES, A NERW PRESENTATION STARTING FROM THE PIAZZA MAJOR INSTALLATIONS AND WORKS NEVER PREVIOUSLY EXHIBITED

ADMITATANCE FREE FOR THE WHOLE OF THE GROUND FLOOR

NEW CATALOGUES OF THE ART AND ARCHITECTURE COLLECTIONS NEW VIDEO GALLERY EVEN MORE SERVICES FOR THE PUBLIC

Grand Opening, Friday 5 May | open to the public from Saturday 6 May www.maxxi.art | #MAXXIReEvolution

Rome 5 May 2017. From 6 May MAXXI will be RE–EVOLUTION : the museum is transforming and reconfiguring its spaces, reinforcing its identity and its public mission, starting with The Place to Be , the new hang of the permanent collection around which rotate all the changes and innovations.

MAXXI is becoming ever more welcoming, more accessible and more open to the city, with the whole of the ground floor free of charge and new services for the public, a project that has been enthusiastically pushed through by the President of the Fondazione MAXXI Giovanna Melandri , the Board of Directors , the Artistic Director Hou Hanru and the directors of MAXXI Architettura and MAXXI Arte, Margherita Guccione and Bartolomeo Pietromarchi , curators of The Place to Be .

“With this project we are crossing the finishing line of the marathon we started years ago”, says Giovanna Melandri. “ We want to continuously enrich the museum’s free cultural offer and we are doing so by focusing on the permanent collection, the identifying heart of the museum and a public resource open free of charge from Tuesday to Friday. We have worked and will continue to work to enrich it, conserve it and render it ever more accessible. This is the ‘re-evolution’ of a great cultural institution, a laboratory for the future and memory of the contemporary.”

“In this new hang”, say Margherita Guccione and Bartolomeo Pietromarchi , "the collection is conceived as a living, dynamic body, composed of works exhibited in rotation, donations and loans, in order to reinforce the museum’s role as a point of reference for artists, collectors, academics and enthusiasts. A presentation that discusses how artists and architecture have tackled the idea of habitable space, from the city to more intimate environments.”

This presentation starts right from the piazza and extends to the interior without interruptions, throughout the ground floor and part of the first floor, with large-scale installations, works exhibited for the first time, major works from contemporary masters, temporary shows and analyses dedicated to the artists in the collection. The ground floor – to which entry is free from Tuesday to Friday and every first Sunday of the month – also houses a permanent video gallery realised in collaboration with In Between Art Film ; a space devoted to the Archive of the Incontri Internazionali d’Arte ; a new teaching workshop that also offers the Kids Museum , an exploration of the works in the collection designed for children, with the support of BNL – Gruppo BNP Paribas . The offer is completed by a new cafeteria-bookshop facing onto Via Guido Reni and a new restaurant on Piazza Alighiero Boetti, with the collaboration of a Michelin star chef.

Also on show are important new artist donations (such as Piccolo Sistema by Gianfranco Baruchello , a photograph from the Occhi series by Bruna Esposito and Io sono dolce sirena by Luca Maria Patella , dfonated by the artist and the Fondazione Morra ) and new long-term loans such as that involving the Naples Metropolitana , the designs for which are being exhibited for the first time. Other long-term loans include works from the Archivio Agnetti (Assioma – Otto proposizioni ), the Fondazione Giuliani (Oscar Tuazon and Elias Hansen, Untitled (Zodiak Staircase) , the Fondazione Nomas (Francesco Arena, 3,24mq and Nico Valscellari, Nido ), the Collezione Barillari (Tomás Saraceno, Flying Garden/Air-Port-City/ 12SW) and the Collezione Pero (Carl Andre, Elica Milano ).

THE PIAZZA MAXXI’s new course sets out from Piazza Alighiero Boetti which features large-scale new installations: visitors are welcomed by the extraordinary and imposing Winter Moon , one of the trees by Ugo Rondinone recently exhibited in Place Vendome in Paris and Trajan’s Market in Rome, an aluminium casting of a millennial olive, five metres tall and finished in matte white enamel. Anima by Mircea Cantor is particularly impressive, a majestic skeleton in wood and rope, around 8 metres tall and 10 metres long, inspired by St. Peter’s Basilica stripped back to its bare essentials. MareoMerz by Elisabetta Benassi was instead created in 2013 for her solo show at the Fondazione Merz: a full size fishing boat nets the last car to belong to Mario Merz. From the end of June, the piazza will also house the partial reconstruction of one of the most iconic sites of Estate Romana : the Teatrino Scientifico by Franco Purini and Laura Thermes which will act as a backdrop to the museum’s summer events. And then there are the permanent installations More than meets the Eye by Maurizio Nannucci, Emergency’s Paediatric Centre Port Sudan Supported by MAXXI by Massimo Grimaldi and the work La casa di Roma by Pedro Cabrita Reis.

GALLERY 1 | Ground floor Inside the museum, the exhibition itinerary begins in the space devoted to the heart of MAXXI’s documentary collections, the Archive of the Incontri Internazionali d’Arte, facing Gallery 1 where over 60 works of art, architecture and photography, with pieces from the Sixties through to the most recent period dialogue amongst themselves and with the sinuous spaces of Zaha Hadid. After having crossed the suspended textile forest by WEST8, a group of Dutch architects and landscapers, the visitor is welcomed by the monumental wall drawing #1153 Ripples by Sol Lewitt , installed on a large wall in the museum for the first time: the essentiality of the black and white, the relationship between light and shadow bear testimony to the artist’s intense final creative period. Moving on, visitors encounter among other works Elica Milano by Carl Andre , Assioma-Otto proposizioni by Vincenzo Agnetti , the installation Flying Garden/Air-Port-City by Tomas Saraceno, Senza titolo (Triplo Igloo ) Mario Merz , The Emancipation Approximation by Kara Walker , the four large charcoal drawings of the series The general jungle or carrying on sculpting by Gilbert & George , the important donation Piccolo Sistema by Gianfranco Baruchello , recently acquired photographs by Letizia Battaglia from the project devoted to the psychiatric hospital in Via Pindemonte in Palermo, recently acquired thanks to the continribution of the Amici del MAXXI, Madre by Maurizio Cattelan , Orme I and Orme II by Alighiero Boetti , Sternenfall by Ansel Kiefer and another prestigious loan: the drawings for the frieze along the banks of the Tiber by William Kentridge. Among the architectural works, on show for the first time are the projects for the Naples metro stations by among others Dominique Perrault and Álvaro Siza , along with those for the Bridge over the Strait of Messina by Sergio Musmeci , Pierluigi Nervi and Giuseppe Perugini. And then there are the 46 photographs that make up 72 Hours in Rome by Helmut Newton, his only “urban landscape” photographic project. The itinerary continues in the Archives Centre with the project entitled Interiors : 10 architects and studios featured in the MAXXI Architettura collections, including Aldo Rossi, Carlo Scarpa and OBR , represent through projects and words the rooms of our daily lives.

GALLERY 2 and the GIAN FERRARI HALL | First floor | Temporary exhibitions and analyses The exhibition continues on the first floor, in Gallery 2 and the new hall dedicated to Claudia Gian Ferrari who, in 2010, donated an important selection of works from her personal collection to the museum. These spaces house rotating exhibitions and analyses of the artists in the collection. First up is a show devoted to Bruna Esposito (through to September 2017), with the re-presentation of one of the first works to be added to the museum collection: the installation/performance e cosi sia… from 2000, a mandala of legumes and spices, of great symbolic value, which the artist will recompose live throughout the duration of the exhibition. Also on show are Oltremare , a photographic print from the Gian Ferrari donation, DVD per la proiezione di un’ombra and a selection of photos from the Occhi (2016) series, macro images of fish eyes, of various sizes, with luminous, brilliant colours, attractive and ambiguous images that create a dialogue with the public. The itinerary then continues with two analytical shows focusing on the themes of the city and the home . In the first, entitled The Other City , a series of drawings of architecture “imagined” for Rome by Franco Pierluisi act as counterpoints to models of built works such as the Mosque by Paolo Portoghesi , on show for the first time, the Auditorium by Renzo Piano and Nuvola by Massimiliano Fuksas . Then there are the photographic work by Gea Casolaro Maybe in Sarajevo , 60 photos that could represent any city, but which

were all taken in Sarajevo in October 1986, the video-installations Freedom of Movement by Nina Fischer and Maroan el Sani , Quando Roma si fa sentire by H. H. Lim , Sleepers by Francis Alÿs and Città ideale by Liliana Moro . The analysis of the home, entitled No Place Like Home , feature the full scale reconstruction of White U by Toyo Ito , the project by Aldo Rossi for Casa Alessi , the photos by Armin Linke and Helene Binet devoted to Casa a Noto by Giuseppina Grasso Cannizzo, the installation Io sono dolce sirena by Luca Maria Patella and works by Francesco Arena, Micol Assaël, Gregorio Botta, Ilya and Emilia Kabakov, Domenico Gnoli, Michelangelo Pistoletto and Oscar Tuazon and three videos by Adeliita Husni Bey , Wannes Goetschalckx and Wolf Kahlen. The offer is completed by the reading room created with the support of MINI to house seminars and meetings with artists featured in the collection.

THE CATALOGUES THE PLACE TO BE is also marked by the publication of the amended Catalogue of the MAXXI Arte Collection , published by Quodlibet and organized in two parts: the general catalogue of works and the section devoted to prizes, commissions and thematic presentations. The e-book of the MAXXI Architettura Catalogue will be also be available and will include the new acquisitions from 2016-2017.

THE NEW CAFFETTERIA-BOOKSHOP and the NEW RESTAURANT The creative revolution also passes by way of the reconfiguration of the internal reception areas , starting with TYPO , the new cafeteria-bookshop housed in the hall of the former barracks that, with its accesses onto Via Guido Reni creates a new entrance to the museum foyer. The cafeteria-bookshop will also be open outside the museum opening times. Facing onto Piazza Alighiero Boetti is instead LINEA , the new MAXXI restaurant. Following a European tender, the management of LINEA and TYPO has been entrusted to Consorzio Stabile SEAMAN, which will also draw on consultancy from Cristina Bowerman , a Michelin star chef.

The press kit and images of the exhibition can be downloaded from the Reserved Area of the Fondazione MAXXI’s website at http://www.fondazionemaxxi.it/area-riservata/ by typing in the password areariservatamaxxi

MAXXI – National Museum of XXI Century Arts www.fondazionemaxxi.it - info: 06.320.19.54; [email protected] opening hours: 11.00 AM – 7.00 PM (Tues, Weds, Thurs, Fri, Sun) | 11.00 AM - 10.00 PM (Saturday) | closed Mondays

MAXXI PRESS OFFICE +39 06 324861 +39 06 324861

MAXXI Re-Evolution: the permanent video gallery the ArTapes project dedicated to Italian and international video art is launching: thematic presentations, monographs, and historical analyses in partnership with In Between Art Film | technical collaboration LaserFilm from 6 May 2017 www.maxxi.art | #ArTapes

Rome, 5 May 2017. The new presentation of the MAXXI permanent collection, THE PLACE TO BE , around which rotates the overall reconfiguration of the museum spaces and services, a true “creative revolution”, also features a permanent video gallery realised with In Between Art Film , the film production company founded in 2012 by Beatrice Bulgari to “explore the increasingly osmotic confines between the arts” and with technical collaboration from LaserFilm .

The video gallery, located in the Carlo Scarpa Hall on the ground floor, with admittance free of charge, is launching with the ArTapes project curated by Giulia Ferracci, a programme of screenings dedicated to the most interesting historical and more recent artist videos. Every day visitors will be offered looped screenings along with talks and performances : a new space within MAXXI where it will also be possible to consult the videos screened, talk to the artists and attend debates with critics, curators and academics.

The programme, the name of which is inspired by Art/Tapes/22 , a video art production centre in Italy in the 1970s, comprises retrospectives of individual artists, historical and thematic presentations , restored works of historic value, silent films with live musical accompaniment, new documentaries and experimental films . An integral part of the project is the acquisition of videos that will enrich the permanent collection, their safeguarding and conservation and the construction of a digital archive rendering the videos ever more accessible to the public.

From 6 May through to 20 June 2017 (repeated 20 July – 6 September 2017), the first programme is Walking around the clock. An exploration of the videos by artists in the collection curated by Monia Trombetta and Luigia Lonardelli. With works by Lucy + Jorge Orta, Eva Marisaldi, Jean-Baptiste Ganne, Elisabetta Benassi, Gal Weinstein, Tessa Manon, Den Uyl , Hans Op de Beeck, Marinella Senatore and Luca Maria Patella , this cycle of screenings tackles the concept of home and the city, developed in THE PLACE TO BE , starting out with two actions that accompany our experience of these places: residing and walking. The videos scheduled tackle the themes of relocation, travel, habitation, the concepts of confine, identity and intimacy associated with roots and the places lived in: from the intimacy of the artist’s studio to the contradictions of the contemporary world and the natural and artificial environment that surrounds us, passing by way of the collective urban spaces.

PROGRAMME

27 June – 19 July 2017 Chantal Akerman. From the other side , curated by Giulia Magno and Giovanna Fazzuoli An initial monographic presentation devoted to the Belgian director, scriptwriter and artist Chantal Akerman that pays tribute to the filmmaker by exploring the coming together of film, documentary and art and the consequent redefinition of the relationship with the spectator.

7 September – 4 October 2017 Le storie del film d’artista in Italia. Anni Sessanta curated by Bruno Di Marino A general introduction to Italian art film that starts out with an analysis of its roots and explores the artistic context of the 1960s, taking into consideration the relations with Rome, the Cooperativa del Cinema Indipendente as well as the relationships with international productions.

14 November – 18 December 2017 Home Beirut. Sounding the neighbors A review organized on the occasion of the exhibition dedicated to the city recognised as the capital of the Middle East. The history of Beirut and its progressive transformation offers an example of survival and civilization. Its complexity is revealed in the works of artists such as Ziad Antar, Roy Dib, Lamia Jorige, Joana Hadjithomas & Khalil Joreige, Rania Stephan and Jalal Toufic.

In Between Art Film is a film production company founded in 2012 by Beatrice Bulgari specialising in the production of artist films and documentaries based on an interdisciplinary approach and exchange between the diverse artistic idioms of our time.

LaserFilm is a leader in post-production audio and video services in Europe, thanks to screening rooms equipped with Barco 4k Dolby Atmos Meyer Sound projectors, 1000 TB storage shared between the various work stations, optical fibre cabling with symmetrical 1000 Mbps data transfer, mixing rooms, dubbing studios, colour correction editing, VFX creation and subtitling.

MAXXI – National Museum of XXI Century Arts www.maxxi.art - info: 06.320.19.54; [email protected] opening times: 11.00 AM – 7.00 (Tues, Weds, Thurs, Fri, Sun) | 11.00 AM – 10.00 PM (Sat)| closed Mondays Admittance free for students of art and architecture from Tuesday to Friday

MAXXI PRESS OFFICE +39 06 324861 , [email protected]

MAXXI Re-Evolution: Incontri Internazionali d’Arte 1970 – 1981 A selection of documents from the Incontri Internazionali Archive

Rome, 5 May 2017. On the occasion of THE PLACE TO BE , the new hang of the MAXXI permanent collection, a new space for analyses in front of the entrance to Gallery 1 is opening with a selection of materials from the Incontri Internazionali d’Arte archive.

Incontri Internazionali d’Arte is an association founded in Rome by Graziella Lonardi Buontempo in 1970 to promote contemporary creativity, becoming a fundamental point of reference for debate and the updating of the artistic community. In 2012 Gabriella Buontempo, niece of the founder, donated the association’s archive to MAXXI : thousands of documents, photographs and audio-video materials currently being organized that constitute a fundamental resource for the historical-critical reconstruction of the last few decades.

This important occasion is being marked by the exposition of various materials relating to the associations early years from 1970 to 1981, a period animated by the critic Achille Bonito Oliva and fundamental to the artistic developments of the successive decades. The exhibition has been curated by Luigia Lonardelli and features reproductions, original documents, voices and films from the period that for the first time reveal this archive as a complex system . The show also makes possible the consultation of around a hundred digitalised items, transforming a private place into the space for shared memory.

MAXXI Re-Evolution: Focus Bruna Esposito e così sia…, 2000 Senza titolo. DVD for the projection of a set-up and installation with final decay: legumes, shadow, 2005 cereals, bay leaf, electric hob, Pyrex receptacle, Courtesy of the artist water Occhi , 2016 Oltremare , 2006 Lambda print on Plexiglas Lambda print, Plexiglas Claudia Gian Ferrari donation

Rome, 5 May 2016. On the occasion of THE PLACE TO BE , the new presentation of the MAXXI Permanent Collection, Galley 2 and the Gian Ferrari Hall on the first floor will be housing in rotation focus exhibitions and analyses of the artist in the collection. The first of these events is devoted to Bruna Esposito , with four works on display: e così sia... (2000), Oltremare (2006), Senza titolo. DVD for the projection of a shadow (2005) and a number of photographs from the series Occhi (2016) .

The installation e così sia… was one of the first works to added to the MAXXI Collection and was created for the exhibition Migrazioni e Multiculturalità , the first edition of what is now the PREMIO MAXXI. Working every day for over two months, the artist arranged on the floor of the museum in a circular pattern legumes and cereals to form a left-facing swastika, with an electric hob at the centre and a glass bowl containing bay leaves and water. It is a work with a strong symbolic value, a kind of propitiatory ritual of positivism and hope, which on the day of the opening was presented with the public being offered a bag of legumes and a poem by Paola D’Agnese: “A garland of light of ancient meanings bound to the sun, to good fortune, to energy, to strength, it brought with it symbolic strength. Inauspicious winds moved it elsewhere, extinguishing its light, carrying far, far away from its primordial meaning.” On the occasion of The Place to Be , the artist will again be composing the work live throughout the duration of the exhibition.

Oltremare and Senza titolo. DVD for the projection of a shadow both feature a colourless flag, overturned and facing left that fluctuates in the depths of the Venezuelan sea. Immersed in the waters or projected on the asphalt, the flag is emptied of its symbolic value to become a shape, stripped of a definite identity. In subtracting from the flag its semantic content, the artist is reflecting on the issue of identity and transforming a national symbol into an ephemeral and metaphorical image that seems to dissolve in the water or on the asphalt.

The series of photographs Occhi was presented for the first time in 2016: a series of macro portraits of fish eyes, of variable dimensions and hung on a wall at varying heights in an installation that also included bamboo brooms on marble bases of various types and colours. An enigmatic, ironic and fascinating setting in which the fish eyes both attracted and repelled the spectator. Pitch black orbits, luminous, pearlescent, sparkling colours, numerous varieties of fish offering a wonderful and natural beauty: hypnotic spherical forms, a multiplicity of luminescences and shades, a mute, fixed gaze, the Occhi , the fish eyes, are attractive and ambiguous devices. The detail of the eye becomes a discourse regarding the deconstruction of the limitations of vision that highlights the mysterious and impenetrable power of the gaze. The eye, the gaze, symbol and allegory of vision since antiquity, here is part of a debate over the criticality of perception, the importance and the abuse of vision. The artist’s use of photography concentrates on the portrayal of elements already present in nature and which are subjected to no post-production; however, this is not documentary photography so much as a suspension of vision and reflection, a pause that requires the focussing of the gaze.

Bruna Esposito was born in Rome in 1960 and has lived in New York and Berlin. Using different idioms she creates works that involve the diverse senses; with simple gestures and material associated with daily life Esposito makes works to be actuated rather than observed. A characteristic element

of her work is a transience: a structural transience deriving from the choice of perishable materials, but the more ephemeral work becomes the more its power is underlined. The artist thus stages an alternative reality, regulated by different laws, in which everyday materials are poetically transformed and take on new meanings. Her works, in their diversity, are based around certain principles: structural clarity, an economy of expressive media and analysis of spatial relations.

Bruna Esposito has participated in a number of international reviews and in 1999, together with other Italian artists, won the Leone d’Oro for the best national national participation at the Venice Biennale. Her most prestigious groups shows include Documenta at Kassel in ’97, La ville, le jardin la mémoire , Villa Medici, Rome (1998), The Venice Biennale in 1999 and 2005, the Istanbul Biennale in and that of Gwanjiu in Korea in 2004; The Rome Quadriennale in 1996 and 2008 ; Une histoire privée , Maison Européene de la Photographie, Paris, in 2006; Italics , Palazzo Grassi, Venice in 2007, Terre Vulnerabili, Hangar Bicocca, Milan and Spazio , MAXXI, Rome in 2010. Her most important solo shows include: Compro Oro , Edicola Notte, Rome, 2007; Museo d’Arte Contemporanea, Castello di Rivoli and Castel Sant’Elmo, Naples, 2002. In 1999 she won the Italian Studio Program, P.S.1, New York.

MAXXI Re-Evolution: INTERIORS. Le stanze del quotidiano (The rooms of the everyday)

The space we live in, we frequent and we visit in the interpretations of 10 Italian architects from the Thirties to the present

Cini Boeri, Vittorio De Feo, Enrico Del Debbio, Oriolo Frezzotti, Danilo Guerri, Vincenzo Monaco and Amedeo Luccichenti, OBR - Paolo Brescia and Tommaso Principi, Aldo Rossi, Maurizio Sacripanti, Carlo Scarpa and Michele Valori

6 May – 29 October 2017 www.maxxi.art | #INTERIORS

I like to invent a house, and all the houses I create are for me (Carlo Scarpa)

Rome, 5 May 2017. What is there inside architecture? All you need to do is open a door, cross a threshold and you are inside the space, a space which architects have always been asked to tackle. From 6 May to 29 October 2017 in the spaces of the Archives Centre, the exhibition INTERIORS. Le stanze del quotidiano (The rooms of the everyday) curated by Margherita Guccione, Director of MAXXI Architettura, and Elena Tinacci, recounts those interior spaces which we experience every day, as interpreted by 10 Italian architects.

Cini Boeri, Vittorio De Feo, Enrico Del Debbio, Oriolo Frezzotti, Danilo Guerri, Vincenzo Monaco and Amedeo Luccichenti, OBR - Paolo Brescia and Tommaso Principi, Aldo Rossi, Maurizio Sacripanti, Carlo Scarpa and Michele Valori , have been chosen to represent – through their objects, projects and words – the rooms of our everyday lives and are thus presented in a human rather than purely professional dimension.

These architects have different approaches to their spaces, houses and studios, places of life and work that frequently coincide: Michele Valori personally designed the interiors of his apartment in Rome, while Carlo Scarpa never designed his own home. Enrico Del Debbio designed his family home within a building by Adalberto Libera at Ostia, while Aldo Rossi filled his homes and studios with furnishings in a continual play of self-referencing and contaminations. The domestic space is the protagonist in the stories of Vittorio De Feo such as La casa (e Anna) , in which architecture is a backdrop to a light, ironic narrative.

Images of the life within the spaces of their everyday lives of all the architects presented along with documents recounting the most intimate dimension of their works have been collected. INTERIORS. Le stanze del quotidiano highlights various points of view from which we can look at interior spaces corresponding to the diverse sections in which the materials on show have been organized.

THE DOMESTIC THEATRE is the section that analyses the theme of the relationship between man and his home and starts out from the suggestion of the design by Aldo Rossi realised for the exhibition Il Progetto Domestico . La casa dell’uomo: archetipi e Prototipi at the Milan Triennale in 1986; the house is conceived as a set, as a space for the representation of domestic life and features designs from the 1930s by Carlo Scarpa and by Enrico Del Debbio or in the 1970s by Michele Valori.

THE ROOMS OF THE CITY is devoted to spaces with a public vocation and collective fruition such as the shops of Enrico Del Debbio, Monaco and Luccichenti, Vittorio De Feo and Carlo Scarpa in which the space defined architecturally by the architect is incessantly modified by everyday use and by both personal and shared experience.

HOMES FROM HOME is the area devoted to those places that are chosen to become home, such as the classrooms of a school to which the reflections of Maurizio Sacripanti and Cini Boeri are dedicated, on the interiors of a boat designed by Carlo Scarpa and Michele Valori.

DAILYEXTRA is the section devoted to those places in which art and life come together and create opportunities for experiences that are out of the ordinary: the salons of the ocean liners designed by Monaco e Luccichenti or by Vittorio De Feo or the theatres and cinemas of Maurizio Sacripanti, Danilo Guerri and Enrico Del Debbio.

SHOT AND REVERSE SHOT is instead devoted to the dichotomies defining interior/exterior space, inside/outside, public/private. When the facades of the buildings open with loggias, terraces, porticos and glazing these contrasts disappear and the external landscape enters into the interior space. This can be seen in the designs of OBR - Paolo Brescia and Tommaso Principi , of Monaco e Luccichenti and of Aldo Rossi .

Alongside this mosaic is a focus on a rich documentary collection conserved in the Municipality of Latina that collates and presents the work of the architect Oriolo Frezzotti , the protagonist of the birth of the Pontine city, from the urban planning through to the design of interiors and furnishings, from the urban landscape to the domestic landscape.

The press kit and images of the exhibition can be downloaded from the Reserved Area of the Fondazione MAXXI’s website at http://www.fondazionemaxxi.it/area-riservata/ by typing in the password areariservatamaxxi

MAXXI – National Museum of XXI Century Arts www.fondazionemaxxi.it - info: 06.320.19.54; [email protected] opening times: 11.00 AM – 7.00 (Tues, Weds, Thurs, Fri, Sun) | 11.00 AM – 10.00 PM (Sat)| closed Mondays Admittance free for students of art and architecture from Tuesday to Friday

MAXXI PRESS OFFICE +39 06 324861, [email protected]

MAXXI Re-Evolution:

MAXXI ARTE | CATALOGUE OF COLLECTIONS

FOREWORD Giovanna Melandri, President Fondazione MAXXI

A catalogue does not necessarily have to be a heartless presentation, a monotonous list of objects that may be splendid but are united for casual browsing without inspiring more than momentary and superficial attraction. A catalogue is not necessarily limited to being an almanac of well-ordered information to provide users with a detailed index of data for orientation in an unfamiliar subject matter. Instead, a catalogue can be a living organism, an impasto of images and comments that accompany us in the discovery of the emotions that art sends bursting into our horizon, today quite confused, like no other expression of creativity. I believe this is the impression that the art collections catalogue will deliver to the expert eyes of scholars and the curiosity of ordinary visitors alike. Its pages, so dense, elegant and scrupulous, encompass and present a fundamental part of the collection of works that constitute the spirit of MAXXI with its many nuances. I am especially proud to present this volume, which after a long critical and editorial process delineates the wealth and variety of our permanent collection, to the ambit of Italian cultural heritage. The original nucleus, the embryo of the Museo nazionale delle arti del XXI secolo, has grown and attracted authors from different latitudes with different inspirations and contributed significantly, together with the temporary expositions, to attract and form a new, broader and more demanding audience. I confess that I am moved when I look back to the time when the MAXXI had not yet become the new magnet of beauty and creativity in Rome, to the year 2000 when it was just beginning to collect its casket of treasures and to open a path, in which I participated with enthusiasm as Minister of Cultural Heritage. We have come a long way since then. The Foundation has earned the trust and respect of Italian and international art environments with its work, to the point of composing the fresco of this distinguished catalogue. Such a brilliant result is the outcome of the dedication and professional competence invested by museum’s management and staff in pursuing this objective: publishing full documentation of the treasure that the MAXXI has succeeded in creating, opening and incrementing during these difficult and challenging years, convinced that it represented a platform of creativity and an original and unique cultural laboratory on the international scene. The contemporaneity of the publication of the new art collections catalogue and the profound renewal of the MAXXI spaces and proposals, open to the public in this new arrangement, is, obviously, not casual but an ambitious objective undertaken and achieved by the whole Foundation. Delve into its images and its critiques to capture an allusion or examine a concept after touring our galleries and come back again soon, with a new charge of curiosity.

MAXXI Re-Evolution:

MAXXI ARTE | CATALOGUE OF COLLECTIONS

The museum, the production site Hou Hanru, Artistic Director Fondazione MAXXI

MAXXI is a young museum, the first National Museum for Contemporary Arts with a focus on 21st century creations. Collecting significant artworks of our day and age is the core mission of this new institution. On the other hand, being a 21st century museum, MAXXI must make a great deal of effort to develop an innovative visionary strategy of collecting art in these exciting and uncertain times. This happens in a very particular context in which public institutions are facing a huge challenge. A booming art market is making reasonable acquisitions almost impossible. Within this context, MAXXI’s collection needs special vision and strategy that are constantly evolving just like the museum itself. We have been focusing on fostering a strategy to found a collection based on institutional memory, rather than a collection that offers an allembracing picture of the history of our times. We have emphasized the particular context of the museum. The collection is mainly the result of commissioned works or works exhibited in the museum. This very peculiar lineage shows the memory of the growth of the museum; it actually shows the museum as a particular kind of institution that strives to contribute to building the memory of the creations of our time. This very ambitious strategy embraces our vision. The museum is the site where the production, imagination and revitalization of all these memories take place, and the collection is the embodiment of this effort. At the same time, the collection offers many opportunities for us to rethink and ponder how contemporary art has been conceived during this period. The first of the special characteristics of the collection is the specific “commission-production process.” This organic process has gone hand in hand with the creation of the institution itself. A major part of the collection has been the outcome of this approach. Therefore, MAXXI’s permanent collection is not a static one. Quite the contrary, it is a living process. The second point is that this collection testifies to a new condition of artistic production, a strategy of our time, that is to say, the tension between the expansion of the private market economy and the recession of public institutions. New understandings and practices of reinventing public institutions, in this specific case art museums and public collections of artworks, are needed more than ever now. Based on this condition, we are looking into a way to reinvent the public space, the public sphere, by combining the public and the private sector. And especially by creating a third space in which two traditionally separated sectors must come together and generate a new form of economic, social and political structure. Hopefully our collection vis-à-vis its content and forms, or its life, can also be a vivid witness to this process of invention. Because it is a national museum, MAXXI is responsible for recording how Italian contemporary culture has been evolving since its creation, but also for expanding the definition of this so-called national art into an environment, which is in permanent negotiation with the process of globalization that happens to transform the definition of nation, state, boundaries, and even the notion of Europe itself. On the other hand, this is a time marked by the important transformation of the social structure into multilayered culturedialogues. One might go so far as to call it a multicultural society. We must emphasize this dynamic in the making of our programs and collections. The museum’s collection and activities have witnessed this development in their global dimension. This global dimension allows the program and collection to become much more complex and enriching, actively reflecting the process of global-local conversations that are currently able to generate new cultural conditions for art practices as well as for life in general. This consciousness of the making of a new world is deeply recorded in the collection itself. We continue to seek and present this process of the production of a new meaning for reality and life through creative and open approaches of exhibiting the collection in various ways of presenting the artworks in the museum, as well as in touring exhibitions in collaboration with other institutions across the world. It is through these creative curatorial interventions that we breathe new life into the collected works. Renewing exhibitions of the collected works – both in the rotating display in our collection galleries in the museum and in touring projects – helps to develop new ways of reading the meaning of the works and also evaluate their cultural and social impact. And this is a permanent innovating process that continues to allow the works to “enjoy” a new life. This is what we mean by CONTEMPORARY ART! MAXXI, with its collection, is a place of real life. And it should forever remain young!

MAXXI Re-Evolution:

MAXXI ARTE | CATALOGUE OF COLLECTIONS

A Dynamic Collection Bartolomeo Pietromarchi, MAXXI Arte Director

More than meets the eye A large neon sign clearly visible on MAXXI’s outside wall reads MORE THAN MEETS THE EYE. This work by Maurizio Nannucci has joined the museum’s permanent collection, instantly becoming an icon of the museum’s new image. It is a programmatic declaration, a statement that directly and evocatively expresses MAXXI’s mission. Contemporary art today embraces all the languages of creativity: from music to writing, from performance to entertainment, from the image in movement to the new technologies. MAXXI is an antenna lying right in the middle of this junction, picking up every change and every transformation that takes place in culture and in art. It is a place that over the years has become more and more of an agorà , both physically and virtually, where languages come together, hybridized and grafted onto new artistic productions and unprecedented pathways of meaning, to help us understand and interpret these contradictory times. Hence MAXXI, besides being a traditional museum, is a centre for research, experimentation, encounter, production. MAXXI is an instrument that can contribute to helping us find our way, through art, in today’s complex world. Today more than ever there is a need for art and culture in its many expressions and nuances, as a bulwark against intolerance and alienation, as an instrument for dialogue and discussion, in order to defend and rethink the foundations on which civilization is built, and on which social cohesion and economic prosperity depend, but also, and above all, as a code to decipher the present and imagine the future, beyond what we can manage to see today, more than meets the eye.

Space for the collections This publication bears witness to a project aimed at a profound rethinking of the collections and the spaces dedicated to them. A young art museum first of all needs to let people know what it does so that its collection can grow, and so that it can then be safeguarded, promoted, and studied. It is a task that follows the guidelines set down when MAXXI was founded, ones that envisioned a close relationship between the museum’s two fundamental audiovisuals, and the various other expressions of contemporary creativity. For this very reason, the first important novelty, which is to be implemented this year, will be the use of the whole ground floor for the museum’s permanent collection, the idea being to re-establish its central role within the cultural politics of this institution. The installation of the collection will make use of the spaces inside and outside, the forecourt, and the exhibition spaces, all of which are closely connected, thereby valorizing the deep-seated significance of Zaha Hadid’s architectural project. MAXXI was conceived as a part of the city itself, as an urban connection between two parts of the neighborhood that until then had been separated, like a building on an urban scale seamlessly joining the street and the square, both inside and out. Starting today, the visitor will be welcomed by the display of the collection and the various activities revolving around it: the auditorium, reading room, video gallery, educational services, bookshop, and cafeteria, for a clear, new, permanent use of the spaces that seeks to reinforce the museum’s identity and underscore its public mission. Within this context the collection is not seen as a static, motionless installation, but, rather, as an instrument, a dynamic and vibrant one, capable of generating critical and theoretical analysis, educational and social activities, new productions and historical and thematic reinterpretations, encounters between artists and important names in the world of art, for a clear and precise textual accompaniment that is capable of explaining – based on the most recent storytelling methods – to an audience diversified by age, interests, and background what is specific and unique about it.

The themes Art, architecture, photography, archives, and library comprise the cultural heritage on which this institution is based. MAXXI has only been collecting materials for a few years, but already they bear witness to an important story, and constitute a solid base for future development. The value of these contemporary works of art – the different meanings they assume as time goes by, their relevance both now and in the future – is the fruit of study, research, promotion, dissemination, and contextualization. The museum collection cannot

merely be a more or less significant “collection” of artworks – it must necessarily express the project and cultural progamme on which it is founded. In recent years, especially as concerns temporary exhibitions, a specific line of research has been developed, which thanks to this publication we are now able to present, clarify, and define. This catalogue was conceived as a tool, as a full-fledged introductory guide to the works in the collection, to their meanings and their stories. To help the public get its bearings three guidelines have been identified, programmatically broad ones, through which different modes of interpretation can be suggested, and which can in turn lead to the further development of the collection. By following the ideas behind the specific themes, the reader can browse through the descriptive entries for all the works in the collection, catalogued alphabetically, and imagine personal explorations and ideal arrangements. The three theme-based areas described in detail in the following pages concern space/place/relation , the new image , and the global world . Determined on the basis of very specific historical roots whose fruits have matured in contemporary art, however, these three themes are clearly present in today’s artistic scenario. Although these research lines are not exhaustive, they do help to direct the collection and provide it with an identity, based on a reflection that is at once historical and thematic. The first two themes are inspired by the formal research conducted in the 1960s, for which Italian artists played a main role, while the third more recent theme has seen a development parallel to the progressive consolidation of the new geopolitical order, from the 1980s to the present day. The theme of the space/place/relation coincides with the first new largescale installation of the collection, entitled The Place To Be . From the very start, art has had to come to terms with the representation of space, but it was only at the start of the 20th century, through the explorations of the historical Avant-gardes, that the work of art was released from its traditional canons of fiction and representation so that it could instead conquer new languages and new spaces. Suffice to think about Italian art, about the Futurist conception of space, and the two great masters Burri and Fontana (the material of the former, and the spatialism and ambients of the latter). However, MAXXI’s collection mostly refers to the research into space and the environment developed from the 1960s onwards, including Arte Povera and Land Art and, above all, to the definition of the work as being site-specific. This historical trajectory – which is well represented in the collection by the Lonardi Buontempo archive and by the works of such masters as Mario Merz, Giuseppe Penone, Ilya and Emilia Kabakov, Maurizio Nannucci – leads to the development of a reflection stretching as far as our own day and age and visible in the works of Rossella Biscotti, Lara Favaretto, Liliana Moro, Elisabetta Benassi, and Alfredo Jaar. Artists today grapple with an idea of space that is increasingly taking on political and social connotations, on the one hand, and technological ones, on the other. The major themes of immigration, diaspora, land consumption and hyper urbanization, sustainability, the concepts of limits and boundaries, of control and seclusion, are combined and often cross paths with the progress in and potential of technology in the invention of new spaces of virtual relations, and in the exploration of immersive and multisensory ambients. The second theme, the one devoted to the new image , was also developed in the early 1960s, with the birth of the “civilization of the image” that we still inhabit today. It is generally identified with the season of Pop art, especially its American version, and it sees Italy and its artists at the forefront of that current in terms of themes and dates. The dissemination of mass media, the availability to the masses of instruments – film and photography – that can be used to directly represent what is real, allowed artists to explore a new idea of the image and the related artistic and cultural implications. During that period in Italy, artists like Mario Schifano, Gianfranco Baruchello, Alberto Grifi, Paolo Gioli, Luca Maria Patella, Luigi Ontani, and Franco Vaccari examined in an original manner and often well ahead of their time the methods and themes that were soon to spread globally, and be revived using other means and with renewed potential, especially in the United States. This research line developed over the course of time, it crossed the 1970s, and it reached into the 1980s, when the debate on the new image became the fulcrum of theories on Postmodernism. Italy was once again in the front line with its theorization of citationism, appropriation, the Transavanguardia; dominated by the total technological and social pervasiveness of the image, it has continued to our own day and age. The emergence of the third theme, that of the global world , can be dated to the late 1980s, when the debate on the Postmodern was peaking. Its “place of birth” is generally acknowledged as the seminal exhibition entitled “Magiciens de la Terre”, curated by Jean-Hubert Martin for the Centre Pompidou in 1989. It was the beginning of the so-called era of “globalization”, which inaugurated the arrival of post-colonial studies in the critical debate and in the art system coincided with the discovery of countries and cultures that until then had been considered marginal. The 1990s and the 2000s witnessed the expansion of the geography of art in terms of both the attention to artistic expressions that had been overlooked until then, and the dissemination

of the art system and its institutions – galleries, fairs, biennales, museums, magazines, foundations, auction houses, and so on. The artists, in this increasingly global dimension, used their works to deal with the great themes of contemporary emergencies: conflicts, diasporas, migrations, marginality, control and repression, human rights, environmental crisis, urbanization, and megalopolises. Art consciously used diversified languages, media, and forms, transcending the concept of style and exploring a host of techniques and approaches. The 1990s also witnessed the concepts of relational art and postproduction; applied to artistic research, these further expanded the social borders, on the one hand, and the use and reuse of cultural and artistic forms and expressions, on the other. In the collection, this area is represented by the works of Alfredo Jaar, William Kentridge, Armin Linke, Sislej Xhafa, Adrian Paci, Doris Salcedo, Kara Walker, Shahzia Sikander, Marjetica Potr č, Francis Alÿs, Kutlu ğ Ataman, Atelier Van Lieshout, Kendell Geers, Jana Sterbak, Chen Zhen, Marinella Senatore, to name just a few.

Prizes, site-specific projects, installations, conservation In recent years, the growth of the collection has focused on the system of new productions commissioned from artists by the museum on the occasion of temporary exhibitions. For this reason, the final section of the volume contains texts that account for this activity. The first of these is dedicated to the Premio MAXXI – established when the museum was founded, even before it was actually built – which, by promoting the younger generation of artists in Italy, has produced its works as they relate to the collection. Since it was founded, all eight editions of the prize have seen many of the artists achieve international affirmation and acclaim, and it has also allowed the museum to acquire some of its most important works. Paola Pivi, Bruna Esposito, Stefano Arienti, Avish Khebrehzadeh, Marinella Senatore, Rossella Biscotti, Zapruder, Gianluca and Massimiliano De Serio, Micol Assaël, Vedovamazzei and many others are now part of this story as well as of the museum’s holdings. The second text instead focuses on all the other site-specific works that over the course of the years have been created in order to converse with the architecture of Zaha Hadid: from the initial competition “MAXXI duepercento”, to several projects that saw the light of day even before the museum was opened to the public, conceived while it was undergoing construction (conversations with the city), to Maurizio Nannucci’s recent neon work situated on the outside of the building. But the story of this collection is also the story of its installations, which have succeeded each other in time. Until today, before locating the permanent collection on the ground floor hopefully once and for all, the collection has been displayed in different parts of the museum, starting from the major exhibition entitled “Spazio. Dalle collezioni di Arte e di Architettura del MAXXI”, inaugurating the museum in 2010. Last but not least, the museum’s activity as concerns the collection also involves protecting, conserving, and restoring contemporary art, all needs that, as clearly illustrated by the essay on the subject, involve problems and approaches that are often pioneering and experimental. Here, too, MAXXI is at the forefront in terms of techniques and reflections on the subject, engaging in a conversation with other international institutions. Today more than ever we need to think about the museum especially in terms of its future, putting together a story that will give back trajectories and meanings, that will preserve and build future assets, a museum capable of addressing everyone, at different levels of complexity, and that will bestow upon art and culture the central role that in Italy has always been the most traditional value as well as being a future-oriented one.

MAXXI Re-Evolution:

MAXXI ARCHITETTURA | CATALOGUE OF COLLECTIONS

“for the last twenty years, neither matter nor space nor time has been what it was” i

Margherita Guccione

To document the collections of architecture acquired by the MAXXI in the past years, we have chosen the form of the catalogue, considered the correct and neutral instrument to describe the work and authors contained in these collections. Organised along the lines of art collection catalogues - although conscious that architecture is a different matter, at the same time autonomous and heteronymous - the sequence of authors, commissions and projects in the catalogue testifies to an idea of collection where “neither matter nor space nor time has been what is was”. This concept of collection is the result of a contemporary project, which has continually renewed and updated the nature of the museum, in order to go beyond, while encompassing it, the traditional concept of a static museum, in favour of a less stable and peremptory identity; a museum that establishes its collection as a testimony of the age we are living in and accepts the challenge foreseen by Paul Valéry in the early 20th century in his The Conquest of Ubiquity , that is, of maintaining both the retrospective glance that historical distance bestows and a forward glance that is careful and selective. Missing from Italy’s museum system until the opening of the MAXXI in 2010, architecture had previously found place in museums because of its artistic contents, connected to the history of art or of anthropology, or in other cases in scientific museums for its technical and specialized features. The MAXXI Architettura’s origin dates back to 1999, when a law instituted the Centre for Contemporary Arts in Rome, defining its role in relation to the Museum of Visual Arts of the 21st Century (MAXXI Arte) ii . This was an ambitious goal for architecture, and looked both at the Italian tradition of preserving architectural documents iii , as well as to the processes that generate and nourish architecture, in all its forms and dimensions, in the interaction between disciplines and languages, in the ties between research and production iv . Today, the collections are the consistent result of the museum’s activity, which has given life to a wide project, still undergoing fine-tuning, of which this catalogue is the first methodical and reasoned compilation. Indissolubly tied to the Museum of 21 Century Arts, to its cultural vocation and to the architecture of its seat, designed by Zaha Hadid, the MAXXI Architettura’s profile is mirrored in the images and works collected: as a repository of knowledge, ideas and competences to draw from to explore, with different visual registers and narrative forms, the events of Italian 20th century architecture and the many paths of today’s architecture. A mosaic of fragments that, as expressed by Benjamin v, recomposes itself in the “thought-images” that the museum enacts, opening itself to interact with its public.

The museum’s architecture, its mission and its cultural project In keeping with the MAXXI’s cultural mission, the Museum of Architecture is an open and dynamic international institution that employs the most innovative tools to spread knowledge of architecture and to testify to its role in society. The Museum of Architecture addresses architecture in all the forms, meanings and directions it takes because of its intersections with other forms of contemporary creativity and of the relations it has to culture and, in a broader sense, to society. The MAXXI Architettura is an integral part of the Museum of the 21st Century Arts vi designed by Zaha Hadid, an institution that, even before being an urban presence, is a cultural entity with two polarities, art and architecture. It is the expression of a common research, for a better comprehension of the present and future of the visual arts and of the disciplines of space, such as architecture, urban planning and landscape research. The MAXXI Architettura is the first national museum of architecture in Italy vii ; it was born within our cultural and territorial context, and Italy’s history, heritage and landscape are a firm reference point for its activity, which focuses on Italian events of the 20th century on one hand, and on the present times on the other, to represent contemporary trends and scenarios. The MAXXI Architettura has a double mission, which is a direct consequence of its role within the Italian museums system: to represent 20th century architecture, by means of its collection, and at the same time to operate on today’s architectural themes and personalities, Italian and international.

The museum was conceived, from the start, as a place for synthesis, where a mutual and constant dynamic between research, documentation, conservation, production and exhibition would take place. It is thus characterised by functions and activities that are coordinate and to a certain extent overlapping, such as conservation, consultation, exhibition, promotion, popularisation and production. The MAXXI Architecture is at the same time a history museum and a contemporary museum. Here the dialectic between past and present is studied through one dimension - multiple and transversal - where history and contemporaneity can beneficially intersect and take on different and appropriate forms each time; here we analyse trends and personalities, episodes and interpretations, themes and relevant issues, cultural models and social behaviours, different stories and theories. Therefore, the museum follows two programmatic guidelines that are distinct but complementary, chosen to present the public and professionals with modern and contemporary architecture. The first, reserved for 20th century architecture, has a historical-critical character and is developed though major retrospective exhibits on personalities or specific themes of the 20th century architectural culture, which aim at initiating studies and reflections on the episodes and value of that history. The second guideline, more innovative and experimental, is entirely directed towards the current architectural debate and emerging contemporary themes, with a special attention to young architects and to the international scene, and aims at spurring the general public and specialists to confront with new ideas and spaces and their future developments. The MAXXI’s mission encompasses a time span that covers the entire 20th century and reaches contemporaneity, and views architecture as a complex discipline, connected to intellectual production in all its expressions, including the forays into the fields of visual arts, product design, performing arts and communication. The Museum’s cultural programme addresses different aspects at once: research and innovation, experimentation, aesthetics and interdisciplinary openness. The centrality of the research on architecture, city and landscape has brought to the development of a concept of patrimony that isn’t only tied to single sensational episodes but to the whole contemporary landscape – both designed and natural – and to the idea of architecture as a public good, which can only be understood if presented in an open and problematic way, drawing from a wide range of disciplines – art, science, economy, geopolitics, sociology – and from expressive languages with which the public can interact effectively. The goal is to observe not only the way architects operate on the world, but also the way ideas and critiques have followed each other and communicated the function of architecture, and the answers that architecture can offer society. The Museum of Architecture acts as a partner for other Italian cultural institutions of the same sector – the Venice Biennale or Milan’s Triennale, for example – for the academic world, for the international network of architecture museums. It works alongside other cultural and institutional agents as a place for confrontation, reflection and interpretation of the recent past and on prospects for Italian and international architecture. In other words, the MAXXI Architettura intends to represent a meaningful cultural reference point: its innovative character has its roots in the Italian architectural tradition of the past century, and uses this heritage to become an actor capable of translating complexity into richness, history into a an asset, future into an opportunity. The museum’s cultural project develops around the stories of modern and contemporary architecture, not limiting itself to the national context, especially for contemporary themes which have an increasingly global dimension. This approach has oriented the acquisitions and exhibitions, the production and research promoted directly by the museum or in collaboration with others agents.

Collections. Archive and museum, what future? The constitution of the MAXXI Architettura’s patrimony was a largely innovative experience, which reflects the Museum’s physiognomy and its history. The collections, started in 2002 with the acquisition of the Carlo Scarpa and Aldo Rossi archives, have grown alongside an ongoig exhibition activity and, because of the inherent relationship between collection, research and exhibitions, they represent one of strongest and most relevant elements of the museum’s identity viii . The issue of creating a collection that was coherent with the MAXXI’s mission has made the enlargement and enhancement of this collection a priority and imposed a continuous renewal of museum practices ix . Simply put, the architecture collections are organised in three sections: the 20th century collections, which testify to the culture of Italian architects and engineers of the 20th century; the 21st century collections, that document the most recent production and research, in logical and chronological symmetry with the MAXXI Arte; and the photography collections, which demonstrate how architectural and landscape photographs have

a central role in the comprehension of the physical layout of space and in the analysis and interpretation of its dynamics. The collections are stored in and managed by the MAXXI Architettura Archives Centre, which is a physical place where these can be consulted but also a conceptual space for study and punctual analysis, for research and teaching activities x. For the 20th century, the collections are mostly made up of architects’ archives, which collect all kinds of documents, not only those – drawings, sketches, models, images - that have or may have an artistic value, a language expressiveness and a formal autonomy, and that are surely more communicative than other architecture documents (surveys, reports, bills of quantities, specifications, etc.) useful to researchers and specialists. If exhibitions are the occasion to present the richness and interpretative potentiality of the archives’ contents, the MAXXI has always attempted to set up exhibitions that express one or more possible narratives, always leaving the visitor the freedom - suggested by the architectural concept of Zaha Hadid’s building itself – to choose their own itinerary. The interaction between archives and exhibitions xi can be read both ways, and represents the two ends of the work that revolves around the concept of contemporary museum, where - especially with architecture - exhibiting the archive and archiving the exhibitions bring about an essential reflection on the nature of collections and on the active and dynamic relationship between the archive and the museum itself. As starting point of the MAXXI Architettura’s cultural project, the inherent relationship between archive and museum has determined its institutional physiognomy and, as stated above, has determined its multiple identity of museum, archive and study centre. The Sala Studio of the Archives Centre, placed at the heart of the museum’s exhibition spaces, is the concrete expression of the intention of making public access to the collections more dynamic and open. From the Sala Studio one can access, for study or research, the museum’s whole patrimony, which can be consulted in digital format and, with some limitations, in original. The Archives Centre allows the public to have a first-hand knowledge of the collected architecture documents and exhibition material, which are continually updated, also thanks to digital instruments which guarantee wider accessibility. But its activity is not limited to the preservation and consultation of documents: the MAXXI Architettura Archives Centre also hosts exhibitions, debates, seminars on specific archival themes or on more wide-ranging architectural themes. The identity of this space has intentionally been kept devoid of the spectacularity found in other areas and activities of the museum, despite the profound conviction of the importance of spectacularity in a museum, of a mise en scène for the visitors, spectators and actors who partake in the museum experience. This idea of a live stage, where different stories of architecture are represented each time, recalls Giuliana Bruno’s words, when she reminded us, retrieving the concept of museum as archive or museum as atlas, that a new interior organisation of the museum, very different from the linear and static one we are used to, is necessary; and that the concept of archive, which might seem dated, actually allows us to organise and redefine historical documents more freely and with more mobility xii . A number of artists and photographers have described the relationship which is established between an exhibited object or an exhibition and its viewers, and have revealed how the relationship itself is more interesting than the object, because in this kind of museum groups of strangers reach a certain level of intimacy, by participating in a common show. The Archives Centre holds both complete and partial archives of the professional activity of some of the greatest Italian architects and engineers of the past century, from Carlo Scarpa to Aldo Rossi, from Pier Luigi Nervi to Sergio Musmeci, from Giancarlo De Carlo to Alessandro Anselmi. Besides these, there are smaller archives, with drawings, models, sketches and documents that are related to a project or a single theme, and develop around it, they do not possess the same organic value as a complete archive or as a significant part of an archive, but nonetheless testify to important moments or turning points in the history of 20th century architecture. The 21st century collections mostly contain the results of the museum’s projects – exhibitions, commissions and workshops – or meaningful examples of contemporary architecture: these are thematic archives which collect projects on one theme, as, for example, the material from design competitions such as the one for the MAXXI itself. Lastly, the photography collections are mostly connected to the museum’s commissions for campaigns on Italian landscape and architecture. As happens for the 20th and 21st century collections, the photography collection xiii is still in fieri, and will continue to expand with the work of other emerging or established photographers, who well represent fine art photography.

The idea is to stimulate the general public to build its own critical and museum path putting aside the idea that a museum tells a story, the epic narrative of one Story. The propitious relationship between archives and exhibitions expresses and gives shape to the enormous potential of research and discovery, of cultural and personal development. Exhibitions, projects and narratives for a mise-en-scène of architecture. Exhibitions are the first expression of a museum and are a privileged means of communicating current themes, personalities and issues of the architectural disciplines. When talking of architecture, we must address the paradox pointed out by many authors xiv that architecture cannot be exhibited in a museum because architecture is elsewhere, in the concrete reality of the construction set in a city or landscape, or otherwise in the architect’s imagination. Architecture is an intellectual product and as such cannot be exhibited in itself but only through the process that generated it or the media that can represent it. The challenge is to confront this paradox and tell the tale of the three-dimensionality and matter of architecture, to recreate the experience of passing through spaces, to put on stage the many implications of architecture and of the physical world. International experience has resorted to effectively representing architecture through models: an age-old system, as shown by the great exhibition on the Renaissance models held at Palazzo Grassi in 1994 xv . In an age of dematerialisation of architectural design, the MAXXI Architettura looks at models with interest, for their role of medium between the project and the executed work, as prefiguration of the building or instrument of theoretical and design elaboration. In 2012, MAXXI hosted an exhibition called Models which selected eighty models form its collections, all representing different periods, techniques and concepts, from the great landscape model of the Foro Italico by Del Debbio to the models for the Museum of 21st Century Arts, or more recent projects, such as the YAP programme for the promotion of young Italian architects. If it’s true that models represent architecture very effectively, they also are a simplification, which communicates, beside the structure it represents, also the model object, with its own formal language. Architectural exhibition practice generally resorts to setup narratives that use different languages to express architectural issues developing, with a more or less popular approach, the themes of space, city and landscape. Exhibitions are more and more often conceived as places of storytelling and experience, capable of inspiring new forms of knowledge and thinking. The fluid architecture of the MAXXI’s galleries, with its continuity of spaces and itineraries has proven to respond perfectly to the dynamic idea of a storytelling, of a narration that in the museum eases the crossing of physical trajectories and those traced by the visitors’ imagination xvi . The set-up and arrangement of exhibitions is always a central theme in the debate on museums, because it determines a privileged relationship with its visitors. Exhibiting involves both the interpretation of the exhibition areas and the forms chosen to express the exhibition, in order to best communicate the critical discourse, theme, or narrative chosen by the curator. Exhibitions must respond to different objectives, audiences and scales and, using space devices intended for communication, they create a specific language to express the exhibition choices. In the set-up, physical or conceptual apparatuses may be used, and nowadays exhibitions increasingly resort to new technologies, to performing arts and communication methods. In contemporary museums, an issue that is considered crucial is that the visitor must be led into an immersive dimension, that may activate different cognitive levels at the same time – intellectual, emotional, evocative, multi-sensorial – by means of specific exhibition practices. Immersive installations that suggested new aesthetic and spatial dimensions, trying to overcome the old paradoxical principle on how to represent architecture, due to the impossibility of exhibiting the architecture itself xvii . Another important field of experimentation for the MAXXI Architettura is that of new productions. The museum has regularly organized exhibitions on the most current themes that implied specific commissions by the Museum. A museum dealing with contemporaneity, must also be a commissioner and prompt new productions, using the extraordinary experimental and temporary quality of its spaces, free from constraints usually connected to site and context. Since its inauguration and the connected Spazio exhibition, the MAXXI has made the commission of site specific projects one of its main activities xviii . The result has been a number of important exhibitions that have investigated, although with different contents, the subject of curatorship and of its relation to the set-up. The idea is to act on different levels of conceptual elaboration and with different visual languages at the same time, so as to present, as Umberto Eco would say, and open work which can address audiences with different cultural backgrounds and different expectations. In the exhibitions held so far, the MAXXI’s set-ups have researched the solutions apt to confront at best with the bold and unusual spaces of our museum, following lines of research that have translated each time into different directions, according to the material to be exhibited and the area destined to hold it. One principle is

that of creating, through the set-up, a sort of spatial or formal metaphor of the exhibition’s concept, by physically simulating the spatial research that is expressed in it. The second direction, emphasized by the MAXXI’s distinctive galleries, has brought to experiment a direct relationship with the museum’s spaces, with autonomous installations produced by artistic or curatorial practices xix .

Identity, public and prospects Balanced between specialisation and popularisation, heritage and activity, conservation and promotion, the MAXXI’s identity is rooted in the capacity of having and maintaining its own specificity, while responding to the expectations of the different types of public it aims at addressing: from experts to researchers, architects, architecture students, and the general public, which is increasingly interested in architecture and landscapes, in the spaces and the lifestyles of today. The MAXXI Architettura works as both a museum and a specialised study centre of excellence. The museum is in fact a privileged observation point to follow the transformations of our physical world and activate new ways of understanding the complex human and urban reality. It is capable of detecting themes or issues with historical significance or of extreme newness and of presenting them to the public with different interpretations and impressions. The MAXXI Architettura strives to respond to the request of knowledge by experts and by the wider public on themes of space and contemporary landscapes. Its primary functions of archive, collection, kunsthalle , research workshop and production place aim at activating a continuous and effective cultural policy, in a sector which in Italy has never had a national institution dedicated to architectural culture, in its wider meaning. As highlighted above, the MAXXI Architettura works on different scales and levels, all in view of the goal of making the museum of architecture an influential point of reference and support for the liveliest experimentations, the bravest ideas, even those that, although not easily feasible, prove the intense vitality of cultural and intellectual research. The museum’s future prospects have a solid starting point in the convictions, the projects and the activities undertaken so far; the MAXXI’s presence on the Italian and international scene has consolidated in just a few years, with the many projects in cooperation with other institutes xx . Lastly, from whatever point of view we address the issue, the arrival point will always be the public. It is to the public we offer cultural contents and itineraries, to the public we offer the museum as a physical and institutional place that is also a centre of innovation and intellectual production, a faithful looking glass with important reflections on society.

The latest acquisitions The e-book format of the digital edition of the catalogue integrates the 2015 paperback edition with artworks and authors acquired in the two-year period 2016-2017. This activity has enriched the architecture collections, confirming the museum’s tasks that aim to preserve a complete representation of 20 th century Italian architecture and bear witness to contemporary research, with relevant authors such as Paolo Portochesi, Alvaro Siza, Cino Boeri, Matilde Cassani, the group Labics based in Rome, the Norwegian firm Snøhetta and many more, as well as the collection of the projects for the underground stations of the city of Naples.

i Valéry P. (1928). La conquête de l’ubiquité. In Valéry P., OEuvres , tome II, Pièces sur l’art. (1960) Nrf, Gallimard/Bibl. de la Pléiade ii Law 237/99 provided for a Center for the documentation and valorisation of contemporary arts later called MAXXI – Museum of the 21st Century Arts, within which the Museum of architecture was established, with the task of “collecting, preserving, valorising and exhibiting drawings, projects, models and any other significant element of contemporary or 20th century architectural culture”. iii We refer to institutions such as the Department of Prints and Drawings of the Uffizi and the Accademia di San Luca in Rome, and more in general to the polycentrism that allowed the collection and conservation of architecture archives of the past, which is characteristic of Italian culture and less so, for example, in France. iv The MAXXI Architettura’s cultural programme was presented at the

International Convention organised before the museum’s opening: Casciato M., Ciorra P. (eds.), Exhibiting Architecture. Esporre spazi, produrre idee, elaborare progetti , Rome 2009 v Cf. Benjamin W. (1928). Einbahnstraße. [One Way Street]. Berlin: Rowohlt vi Cf. Avagnina M., Guccione M., La Pergola S. (eds.). (2010). MAXXI Materia Grigia . Milano: Electa vii Cf. Sciacchitano E. , I musei di arte e architettura nel mondo and Guccione M. , I musei di architettura in Italia . (2006). In P. Baldi (ed.), MAXXI, Museo delle arti del XXI secolo . Milano: Electa. See. also ICAM International confederation of architectural museums, www icam-web.org viii Cf. Valente E., History of a collection . p. 255 of this volume ix Cf. Felci L., Tinacci E., Our cultural guidelines. p. 256 of this volume. Cf. also Lepik A. (ed.). (2014). Show &Tell Collecting architecture , Ostfildern: Hatje Cantz x Cf. Zhara Buda C., Managing the collection. The MAXXI Architettura Archive Centre , p. 258 of this volume xi Archivi e mostre . Proceedings of the first international convention organised by the Venice Biennale – ASAC, during the 13th International Architecture Exhibition, Venice 21 October 2012 xii Cf. Bruno G. (2006). Atlante delle emozioni. In viaggio tra arte, architettura, cinema . Milano: Bruno Mondadori. And with specific reference to the MAXXI: Guccione M., Interview with Giuliana Bruno , 10 November 2009, in http://www. fondazionemaxxi.it/sezioni_web/interviste/giulianabruno.htm xiii Cf. Fabiani F. (ed.). (2010). MAXXI Architettura . Fotografia. Le collezioni MAXXI . Milano: Electa xiv Cf. Polano S. (1998, April). Archivi e (musei) di architettura: e l’Italia non li merita? Casabella , no. 655, p.7; Calabi D., De Michelis M., Rosemberg P., Cohen J.-L., Marini P., Masiero R. (2004). Musei d’arte e di architettura by Varosio F. (ed.). Milano:Bruno Mondadori xv Rinascimento. Da Brunelleschi a Michelangelo. La rappresentazione dell’architettura , Venice, Palazzo Grassi, 31 March-6 November 1994, cf. exhibition catalogue xvi Cf. Guccione M. Interview with Giuliana Bruno , 10 November 2009, op. cit. xvii See, for example, the Geografie Italiane, archivio dinamico dell’architettura contemporanea installation, curated by MAXXI Architettura and Studio Azzurro, Rome 2010 xviii Cf. Dardi D., d’Onofrio A. (eds.).(2010). Spazio. Dalle collezioni di arte e architettura del MAXXI . Milano: Electa, which contains the 10 site specific installations commissioned by the MAXXI Architettura for the occasion. xix For a complete report on the MAXXI Architettura exhibitions, cf. www. fondazionemaxxi.it xx Among the many activities in partnership with others institutions, the YAP – Young Architects Program started in 2011 in collaboration with the MoMA/ MoMA PS1 in New York and the Constructo Association from Santiago de Chile, and was later joined by the Istanbul Museum of Modern Art in 2013 and by the

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enel.com

ENEL THE FIRST PRIVATE FOUNDING MEMBER OF MAXXI – NATIONAL MUSEUM OF XXI CENTURY ARTS

Enel’s participation as first private founding member in the Fondazione MAXXI will see the company offer it a membership contribution over the next three years, while also partnering the foundation in an ambitious energy efficiency plan for the MAXXI museum in Rome that will highlight sustainability and energy savings.

Culture, value and accountability are the guiding principles that have prompted Enel to forge partnerships with leading national and international institutions in order to implement innovative projects that give the public a vision of energy that is orientated towards the future. More specifically, Enel is committed to promoting art and music, putting its emphasis on young artists: in 2003 the Group became both a founding member of the Accademia Nazionale di Santa Cecilia and of the Teatro alla Scala and in 2015 of the Maggio Musicale Fiorentino.

Enel’s focus has always been on developing the best solutions for the economic and social development of the countries in which it operates, the enterprises that produce their wealth and the people, who are their driving force. The Group does this acting with respect for the environment and the communities that host its operations.

The world has changed. More people have more access to more powerful technologies than ever before. As people's lives become more connected, energy must equip individuals to do more. That's why Enel is committed to opening power to more people, technologies, uses and partners.

As a truly global business, Enel is perfectly placed to open power around the world. Enel operates in more than 31 countries, from Europe, to North America, Latin America, Africa and Asia. Enel connects more than 65 million customers to more reliable and increasingly sustainable power, drawing from a net installed capacity of more than 83 GW. Enel runs 2.1 million kilometres of grid network, supplying the largest customer base of any European energy company.

1

Enel SpA – Registered Office: 00198 Rome – Italy - Viale Regina Margherita 137 – Companies Register of Rome and Tax I.D. 00811720580 - R.E.A. 756032 – VAT Code 00934061003 – Stock Capital Euro 9,403,357,795 fully paid-in.

SKY ARTE HD --- SKY CHANNELS 110, 130 and 400 –––

PAINTING, SCULPTURE, MUSIC, LITERATURE, DESIGN, ANCIENT AND CONTEMPORARY FORMS OFOFOF EXPREEXPRESSIONSSSIONSSSIONS::::

ART AND KNOWLEDGE ARE THE HEART OF TTHEHE PLATFORM

SKY ARTE HD it’s the first Italian TV channel dedicated to art in all its forms and it’s now available to all Sky subscribers (who have HD in their subscription) on channels 110110, 130 and 400 of the platform. Painting, sculpture, architecture, music, literature, theater, design and all forms of artistic expression are found within a single schedule dedicated not only to the fans who have the opportunity to deepen their interests, but also to the curious ones than can get closer to art in a brand new way, through both the major international productions (Sky Arts, BBC, Channel 4, Arte, PBS, Sundance Channel) and the original ones of the channel. Sky Arte HD tells the infinite resources of the world's artistic heritage, with a special consideration for the Italian extraordinary tradition and our artists’ talent and it uses a contemporary and never didactic language, characterized by the contamination of genres.

The channel hosts all the languages of art. On the one hand, the Sistine Chapel, which was presented on Sky Arte HD in all its expressive power thanks to the original production Michelangelo ––– The heart and the stone , broadcast on Sky 3D with an exclusive documentary on the Sistine Chapel, on 1 st November. On the other hand, the channel tells the provocations of Marina Abramovic and the charm of conductors such as Daniel Barenboim, or rock legends as Jim Morrison, eclectic talents as Tom Ford and the queen of photography Annie Leibovitz.

Among the original productionsproductions, there are programs especially created for children, such as Art explained to kidskids,,,, which uses cheerfulness to help children and parents to discover art as an element that can be part of everyone's life; furthermore, there are travels in the contemporary world, as Potevo farlo ananch’ioch’io hosted by Alessandro Cattelan and Francesco Bonami , who travel with us among the wonders and the paradoxes of the greatest masterpieces of contemporary life, with an ironic approach. Local events have a great relevance on the channel: exhibitions, shows and retrospectives will be told in the report Great ExhibitionsExhibitions,,,, which describes step by step the complex mechanism of an exhibition, from the transport of works to the vernissage. On the occasion of the Salone and Fuorisalone 2013, Sky Arte HD realized the original production De.signDe.sign,,,, which led the audience in the heart of Milan design week with daily capsules dedicated to the FuorisaloneFuorisalone, with a final report on the whole 2013 edition and an important doc series on the history of design. Another Sky Arte HD original production is BookshowBookshow, a show entirely dedicated to books that tells their story through a simple but in-depth tripartite structure: aaa book, aaa place, aaa guestguest. TheTheThe crossed destinies hotel is a carefree colorful cartoon which talks about particular meetings that have changed history; the set is a hotel where the room doors open and close on the fate of the protagonists. In June, Sky Arte HD presented ContactContact,Contact another original production that takes an extraordinary and fascinating journey in the forbidden city of photo proofs, near the famous photographers of Magnum Photos, the legendary agency founded in 1947. In October, Sky Arte presents Unveiled MasterpiecesMasterpieces:: Greta Scacchi will explain how a great artist, as well as an extraordinary artistic interpreter, can also be a real storyteller ofofof herherher timetime. In November a new season of Contact and Street ArtArtArt,Art ,,, an original production dedicated to the world of street art, will be broadcast on Sky Arte.

Sky Arte HD relies on the contributions of Enel, main sponsor of the channel and of its flagship shows, as Michelangelo – Il cuore e la pietra. Enel participates actively in the creation of ad-hoc productions, such as Corti di luce and the specials dedicated to Enel Contemporanea, the contemporary art project sponsored by the company, now in its 6th edition.

Sky Arts HD has also signed some important partnership with the Istituto Luce-Cinecittà and with festivals, exhibitions and fairs to tell the main Italian cultural events, such as the Festivaletteratura of Mantova, the RomaEuropa Festival and Artissima. Sky Arte HD will be a media partner of the MAXXIMAXXI: starting from the month of October, there will be some original productions which will describe the main exhibitions of the season of the National Museum of the Arts of the XXI century (MAXXI).

In line with modern language of programming, the channel has a strong presence on the web and on social networks (Facebook, Twitter and Instagram), thanks to the website www.skyarte.it and Sky Go, the streaming service program that allows youyouyou tototo watch SkySkySky ononon PCPCPC andandand smartphones. TheTheThe main contents ofofof SkySkySky Arte HDHDHD areareare also available ononon thethethe SkySkySky ononon DeDeDemandDe mand service.

«We are making a big commitment – says Roberto Pisoni, head of of Sky Arte HD – beacuse talking about arts on television, with all its facets and in a brand-new and original way is a great bet. Art, in its various expressions, both ancient and contemporary, both cultured and popular, is a life-changing experience, that offers an infinite source of exciting stories. We are proud to offer it to the Sky audience.»

Sky Arte HD Press Office MN – Cristiana Zoni – [email protected] Marilena D’Asdia – MN [email protected] Tel 06.853763 Sky Press Office – Elena Basso [email protected] Tel 02.308015837 MINI CORPORATE COMMUNICATIONS

Press Release No. M004/16

San Donato Milanese, 23 February 2016

MINI and MAXXI, a partnership in thethethe name ofofof design The partnership between the Museum and MINI is being announced during the presentation of the MAXXI exhibits and activities for 2016. A MINI-branded reading room will accompany visitors during their cultural visit to the Museum.

San Donato Milanese. Starting with the classic Mini designed by Sir Alec Issigonis in 1959, every MINI has been much more than a simple automotive icon. It represents a veritable existential philosophy, a vital space, a recurring feature of the urban scene, and – we could even say – an artistic creation. To reaffirm its vocation, MINI has entered into a partnership with the Rome-based MAXXI, a reality with which it shares values linked to the world of design, art, and new trends.

The partnership is being announced today, 23 February 2016, during the press conference at which the President of the MAXXI Foundation, Giovanna Melandri, together with Artistic Director Hou Hanru, will be presenting the exhibits and the activities the Museum has scheduled for 2016.

“The collaboration with MAXXI is a natural for us, because we share with the Museum not only a passion for design, but also the artist who designed this magnificent place, Zaha Hadid, who also designed our plant in Leipzig. Moreover, it is particularly significant,” explains Sergio Solero, President and CEO of BMW Italia S.p.A., “that this partnership is beginning in 2016, just when we are celebrating the BMW Group’s 100th anniversary and the 50-year presence of BMW in Italy. We are proud to cooperate with the most important cultural institutes in the country, and the MAXXI is one of these.”

The MAXXI National Museum of the Arts of the 21st century is the first national institution devoted to contemporary creativity, offering a well-endowed program of exhibits, workshops, conferences, labs, shows, projections, and teaching projects in which MINI is a prominent feature.

MINI and MAXXI MINI is the transposition of a global and transversal lifestyle that is adored by persons of differing cultures, languages, and social extraction. Always attentive to art and design, MINI is very well disposed to research and innovation, anticipating the latest trends. These are values that it shares with MAXXI and that the compact British premium car displays anew today with the New MINI Clubman.

“MINI has a strong sense of heritage, but at the same time it has always been fertile ground for creative experiments,” explains Federico Izzo, Head of MINI, “and has decided to join MAXXI as a place for exploiting cultural heritage and also, at the same time, as a laboratory for experimentation, innovation and the production of new and contemporary aesthetics approaches and features.”

The partnership offers MINI a new opportunity to adventure once again beyond the confines of the mere “automobile as an object”. For this reason, together with MAXXI, a special Manifesto has been written to highlight the common values on which the partnership is based:

“Opposites only in name, but mirror images in terms of the values that inspire them. Just as MINI has always challenged the cultural canons of the time, so MAXXI has now become part of the age-old city of Rome, affirming itself as an open space where artistic practices become the laboratory for the MINI CORPORATE COMMUNICATIONS

future. It is therefore here that their paths aimed at promoting cutting-edge approaches, experimentation, and innovation meet, in a voyage that seeks to contribute to the creation of new languages and to the vision of new worlds.”

A cultural learning space powered by MINI MINI, partner of MAXXI’s Public Programs, that is, all the events that form part of the program for in-depth study and enrichment of the subjects developed by the exhibits, has decided to set up a reading room to provide an added value to the cultural experience for visitors to the Museum. As a matter of fact, an itinerant space will be created for meetings and talks on art and design, serving also as a place for sharing that is always available to visitors and where they can find informative material about the exhibits. During the course of the year, specific initiatives will be organized to make the most of the two worlds, MINI and MAXXI, and to bring their respective clients and visitors closer together.

For further information, please contact:

Cristiana Lattuada PR & Communication Coordinator MINI Telephone: 02.51610.710 Fax: 02.51610.0710 E-mail: [email protected]

Media website: www.press.bmwgroup.com and http://bmw.lulop.com

The BMW Group With its three brands BMW, MINI and Rolls-Royce, the BMW Group is the world’s leading premium manufacturer of automobiles and motorcycles and also provides premium financial and mobility services. As a global company, the BMW Group operates 30 production and assembly facilities in 14 countries and has a global sales network in more than 140 countries.

In 2015, the BMW Group sold approximately 2.247 million cars and nearly 137,000 motorcycles worldwide. The profit before tax for the financial year 2014 was approximately € 8.71 billion on revenues amounting to € 80.40 billion. As of 31 December 2014, the BMW Group had a workforce of 116,324 employees.

The success of the BMW Group has always been based on long-term thinking and responsible action. The company has therefore established ecological and social sustainability throughout the value chain, comprehensive product responsibility and a clear commitment to conserving resources as an integral part of its strategy. www.bmwgroup.com Facebook: http://www.facebook.com/BMWGroup Twitter: http://twitter.com/BMWGroup YouTube: http://www.youtube.com/BMWGroupview Google+: http://googleplus.bmwgroup.com

company profile

British American Tobacco Italia

British American Tobacco Italia S.p.A. (BAT Italia) was officially established on 1st June 2004, following the merger with ETI S.p.A. BAT acquired ETI S.p.A. after winning the tender for privatisation on 16th July 2003. Thanks to its Italian spirit mixed up with an international perspective, BAT Italia has been playing a relevant and strategic role in the national economic scenario. In Italy – the second largest market in Europe – BAT commercializes over 20 international brands such as Rothmans, Lucky Strike, Dunhill and some national brands, such as MS just to mentions a few. In 2017, BAT Italy was awarded, for the sixth consecutive year, the “Top Employer Italy” certification as well as the “Top Employer Europe 2017” certification, only granted to those multinational companies which are certified in at least 5 European countries.

BAT Italia is part of British American Tobacco Group, one of the most international of the sector: operating in over 200 markets with a leading role in 60 Countries, BAT commercialises over 200 brands and employs over 50,000 people all over the world.

BAT Group has been active from several years in the Next Generation Products sector, at global level. The Company developed innovative nicotine delivery devices for adult smokers, produced according to the highest quality standards. The main areas of activity in this sector concern vaping products (namely e-cigarettes) and the Tobacco Heated Products.

Press Office: INC-Istituto Nazionale per la Comunicazione Simone Silvi 06 44160881 – 347 5967201 – [email protected] Elena Mastroieni 06 44160843 – 334 6788706 – [email protected]

British American Tobacco (BAT) Italia Luca Beccali Cosentino – Communication Manager 06 52877109 – 344 2005613 – [email protected]

Press Release

Canon is the “MAXXI Re-Evolution” Exhibition Digital Imaging Partner

Canon technology supports the new installation of the National Museum of the XXI Century Arts’ permanent collection.

Milan, 5 May 2017 - Canon is the “MAXXI Re-Evolution” Exhibition Digital Imaging Partner , the new installation of the National Museum of the XXI Century Arts’ permanent collection which opens on 5 May in Rome.

The founding elements of MAXXI are the stimulus to contemporary creativity,arts and architectural innovation , and any form of expression particularly those aimed at a technological development . This has made it a centre of excellence which coincides with Canon ’s art sector mission.

Canon has been at the forefront of supporting and enhancing our country’s excellence where architecture, design and photography are some of the most important examples. Thanks to the IoX, Imaging of Italian Xellence project, launched some time ago, Canon offers museums the best technology and expertise to tell Italian stories of excellence.

Canon's support to the exhibition became concrete when it made its digital printing technology available. Canon printed the major photographic works exhibited at the new MAXXI Re-evolution installation.

Canon Italia Managing Director Massimo Macarti, said: "It is an honour to collaborate on this great project of enhancing the MAXXI Permanent Collection. It is a museum that always stood out for its experimentation and innovation in the arts field and any form of expression. It is a well-integrated collaboration to Canon's continued commitment to art and its expression through technology. The best Canon expertise is available to anyone who wants join us in making available and protecting Italian excellence. MAXXI is an example of national and international excellence."

At the end of June, Canon will be the Summer Party Digital Imaging Partner, an exclusive annual event that MAXXI dedicates to its Donors, Corporate Sponsors and Institutional Partners. Canon's printing technology will be used to print photos exhibited during this special evening which is dedicated to Museum's supporters in the implementation of its many projects.

Press Release

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About Canon

Founded in 1937 to produce high-level cameras, Canon is a Japanese multinational headquartered in Tokyo. It is the world leader in providing innovative imaging solutions for companies and consumers.

Currently, the company develops, produces and sells a wide range of products including compact cameras, digital SLRs, x-rays devices, broadcast lenses, and multifunction printers which are supported by a wide range of solutions and value-added services ranging from Information & Document Management to Business Process Outsourcing solutions. Canon is making major investments in this sector to support companies and institutions in the digitalisation and dematerialisation process.

The Canon brand is known and respected worldwide by customers, households, companies, and industrial sectors. This was shown by its third place in the Interbrand ranking of the 2016 best Japanese brands.

The company constantly invests in research and development, which in 2015 was more than 8 per cent of its turnover. This provides advanced solutions and services to meet its customers’ needs. In 2015 Canon was ranked third in the USA with 3,665 patents, and in the last 30 years it has always been in the first five positions.

Canon satisfies any imaging needs for professional, amateur photographers and print professionals. It believes that considering society’s interests and the environment is an integral part of good business practice. This concept is contained in the Kyosei philosophy: "Living and working together for the common good".

Canon has been present in Italy since 1957 with offices in Milan and Rome.

Internet References: Canon Consumer & Business products: canon.it

For further information: Prima Pagina – Tel: 02/91.33.98.11 Marzia Acerbi ([email protected] ) Paola Guttadauro ([email protected] )