valid until 9 April due to the Museum’s first-floor closing
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the only open ticket, valid for 100 years, for one admission to the Museum and all current exhibitions
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valid for access to the Museum during the last opening hour, available online and at the Museum’s digital ticket point only
upon presentation of the membership Card or Carta EFFE
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minors under 18 years of age; disabled people requiring companion; EU Disability Card holders and accompanying person; MiC employees; European Union tour guides and tour guides, licensed (ref. Circular n.20/2016 DG-Museums); 1 teacher for every 10 students; ICOM members; AMACI members; journalists (who can prove their business activity); myMAXXI membership cardholders; European Union students and university researchers in Art and Architecture, public fine arts academies (AFAM registered) students and Temple University Rome Campus students from Tuesday to Friday (excluding holidays); IED – Istituto Europeo di Design professors, NABA – Nuova Accademia di Belle Arti professors, RUFA – Rome University of Fine Arts professors; upon presentation of ID card or badge – valid for two: Collezione Peggy Guggenheim a Venezia, Castello di Rivoli Museo d’Arte Contemporanea, Sotheby’s Preferred, MEP – Maison Européenne de la Photographie; on your birthday presenting an identity document
for groups of 12 people in the same tour; myMAXXI membership card-holders; registered journalists with valid ID
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under 14 years of age
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disabled people + possible accompanying person; minors under 3 years of age (ticket not required)
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MAXXI’s Collection of Art and Architecture represents the founding element of the museum and defines its identity. Since October 2015, it has been on display with different arrangements of works.
16 October 2013 – 16 February 2014
curated by Germano Celant
Gallery 4
who per-for-ates himself and his environment
New York, 20 February 1982
Jan Fabre. Stigmata. Actions & Performances 1976- 2013 is a voyage into the memory of this Flemish artist through drawings, photographs, study models – which Fabre refers to as “thinking models” – and filmic documentations of his performances, from the second half of the 1970s to the present.
Visitors are greeted by a labyrinth of tables introducing the artist’s philosophies. This tool serves to understand his ideas, his memories, his art, profoundly inspired by the traditions of Flemish painting and focused on the study and use of the body.
Jan Fabre, Sanguis/Mantis, 2001. Photo by Maarten Vanden Abeele. Copyright Angelos bvba
In collaboration with Romaeuropa Festival 2013