When the Zaha Hadid designed building finally opened in 2010, it already felt stale to me. No coincidence that years of delays and other issues saw to the project taking almost ten years to be realised, by which stage the revolutionary building design seemed to scream; you've seen me before in a million other capital cities.
The art at MAXXI feels more modern than contemporary, and this is an important thing to understand in Italy, because modern art in Italy envelopes the last few hundred years, whereas contemporary art is that which is produced in the now.
Invariably, when you visit MAXXI, you get a mixed idea of what modernity means. You're as likely to encounter artwork from the seminal 1960s and 1970s, when Italian artists were at the forefront of the contemporary and avantguard scenes, as artwork from more recent years, in which the collections place emphasis on international artists, partly because Italian artists haven't connected with their public in recent years to the same scale as international artists, because they haven't been able to maintain the urgency, that cutting edge ability that seemed to come so naturally in the mid twentieth century. This is a direct result of the destruction of arts education and training in this country, a brain drain which has weakened innovation in the arts here in the same way that it has weakened Italy in technology, science and pretty much any other smart industry.
MAXXI was envisaged as being the centre of Italy's contemporary arts scene, and as such, was part of a huge push to rebrand Rome as a pivotal European centre for contemporary art, a huge undertaking, given the identity clash between old and new that is constantly played out in Rome.
But MAXXI, in just its second year, is already facing other big challenges. Recently spotlighted in the news due to funding issues, the museum finds itself in the unenviable position of being a big new player that already has an uncertain future. Coupled with the appointment of an administrator, talk currently suggests that the government, in its current austerity drive, has drawn the line and plans to cut funding, emphasizing the point that its initial funding was provided under the condition that MAXXI sought out private partners to sustain it on an ongoing basis.
This brief Italian article suggests that MAXXI has so far failed to do so, and that in not doing so, risks not being able to pay staff wages beyond another few months, let alone continue to stage exhibitions and events that it so desperately needs to in its attempt to define its place in the contemporary European scene.
MAXXI of course is not alone in this dire situation. In recent weeks, by museology standards, events have turned almost apocalyptic.
Click Read More to continue this post.