MAXXI, or Museo nazionale delle arti del XXI secolo, is a museum of contemporary art and architecture housed in a building designed by Zaha Hadid. So far so good, we like modern art and I had read of, but never seen anything by, Hadid. Well, I found the building cold and uninspired, and the current exhibit, largely architecture, only mildly interesting—what a stark contrast to its context, the lovely city of Rome.
That said, there were a few things of interest.
Nakagin capsules were an experiment in manufactured pod homes that were assembled into a tower.
Brings to mind Canadian architect Moshe Safdie’s experimental housing complex of modular concrete units created for the 1967 World Expo in Montreal.
Nakagin capsules were an experiment in manufactured pod homes that were assembled into a tower.
Brings to mind Canadian architect Moshe Safdie’s experimental housing complex of modular concrete units created for the 1967 World Expo in Montreal.
Nakagin capsules were an experiment in manufactured pod homes that were assembled into a tower.
Brings to mind Canadian architect Moshe Safdie’s experimental housing complex of modular concrete units created for the 1967 World Expo in Montreal.
The only good view in an otherwise boring space.
The only good view in an otherwise boring space.
The only good view in an otherwise boring space.
Monia Ben Hamouda is a figurative artist and sculptor. Her artistic practice reflects the complexity of her intercultural identity. Drawing inspiration from her Italian and Tunisian roots and cultural syncretism, the artist reinvents some established aesthetic canons through a process of sign contamination.
Her works combine elements from Islamic aesthetics, such as calligraphy and religious symbolism, with contemporary influences, such as industrial materials and Al. Theology of Collapse (The Myth of Past) I-X (2024), created on the occasion of the MAXXI BVLGARI PRIZE, is an installation consisting of ten laser-cut iron panels, which outline motifs inspired by Islamic calligraphy and mosque shapes. The signs have been reworked by the artist through the use of Al. Painted with mixed techniques that include the fragrant spices of turmeric, coriander and cumin, the panels are installed in a reversed fashion on the back wall of Zaha Hadid's gallery, acting as an impassable curtain to passage but not to view.
Rather than standing, the work seems about to collapse, prompting reflection on the decay of cultural and religious structures, and highlighting the fragility of contemporary identities.
Monia Ben Hamouda is a figurative artist and sculptor. Her artistic practice reflects the complexity of her intercultural identity. Drawing inspiration from her Italian and Tunisian roots and cultural syncretism, the artist reinvents some established aesthetic canons through a process of sign contamination.
Her works combine elements from Islamic aesthetics, such as calligraphy and religious symbolism, with contemporary influences, such as industrial materials and Al. Theology of Collapse (The Myth of Past) I-X (2024), created on the occasion of the MAXXI BVLGARI PRIZE, is an installation consisting of ten laser-cut iron panels, which outline motifs inspired by Islamic calligraphy and mosque shapes. The signs have been reworked by the artist through the use of Al. Painted with mixed techniques that include the fragrant spices of turmeric, coriander and cumin, the panels are installed in a reversed fashion on the back wall of Zaha Hadid's gallery, acting as an impassable curtain to passage but not to view.
Rather than standing, the work seems about to collapse, prompting reflection on the decay of cultural and religious structures, and highlighting the fragility of contemporary identities.
Monia Ben Hamouda is a figurative artist and sculptor. Her artistic practice reflects the complexity of her intercultural identity. Drawing inspiration from her Italian and Tunisian roots and cultural syncretism, the artist reinvents some established aesthetic canons through a process of sign contamination.
Her works combine elements from Islamic aesthetics, such as calligraphy and religious symbolism, with contemporary influences, such as industrial materials and Al. Theology of Collapse (The Myth of Past) I-X (2024), created on the occasion of the MAXXI BVLGARI PRIZE, is an installation consisting of ten laser-cut iron panels, which outline motifs inspired by Islamic calligraphy and mosque shapes. The signs have been reworked by the artist through the use of Al. Painted with mixed techniques that include the fragrant spices of turmeric, coriander and cumin, the panels are installed in a reversed fashion on the back wall of Zaha Hadid's gallery, acting as an impassable curtain to passage but not to view.
Rather than standing, the work seems about to collapse, prompting reflection on the decay of cultural and religious structures, and highlighting the fragility of contemporary identities.
A homeless person shelter that looks like a shopping cart, or a bomb, or a bomb attached to a shopping cart.
I see the utility, a person can lie down in it to sleep, on top and protecting their store of collected cans, but it struck me as horrid.
Or perhaps it is just my claustrophobia talking.
A homeless person shelter that looks like a shopping cart, or a bomb, or a bomb attached to a shopping cart.
I see the utility, a person can lie down in it to sleep, on top and protecting their store of collected cans, but it struck me as horrid.
Or perhaps it is just my claustrophobia talking.
A homeless person shelter that looks like a shopping cart, or a bomb, or a bomb attached to a shopping cart.
I see the utility, a person can lie down in it to sleep, on top and protecting their store of collected cans, but it struck me as horrid.
Or perhaps it is just my claustrophobia talking.