CÉSAR MENEGHETTI. I/O IO È UN ALTRO 20 November 2015 – 17 January 2016

19 November 2015, 6.00 PM MEETING WITH THE ARTIST Graziella Lonardi Buontempo Hall – admittance free

7.00 PM OPENING

An exhibition promoted by the Comunità di Sant’Egidio_Laboratori d’Arte www.fondazionemaxxi.it Rome 19 November 2015. From 20 November through to 17 January 2016 MAXXI will be devoting to the Brazilian artist César Meneghetti the exhibition CÉSAR MENEGHETTI. I\O_ IO È UN ALTRO, curated by Simonetta Lux (progetto scientifico di Simonetta Lux e Alessandro Zuccari).

The exhibition features previously unseen works born out of an intense process of relations between the artist and the disabled persons involved in the Sant’Egidio Community’s Art Workshops: works in which they are the protagonists than which reveal the lengthy exchange of ideas and reflections on the world and contemporary society with the artist.

Video installations, sound installations and photographs make up the display in the Carlo Scarpa Hall, starting with I\O_OPERA #01 VIDEOCABINA #3, a key work portraying men and women with disabilities in a dialogue that draws in the spectator: a gallery of people presenting themselves for who they are and expressing themselves clearly on universal issues such as love, solitude, happiness, death, normality and diversity. With I\O_OPERA #03 EX-SISTENTIA the artist instead reveals how those who are affected by autism can perceive the surrounding space, how they experience their thoughts, while I\O_OPERA #06 LOVISTORI is a multiple part account of a special love story. The exhibition also includes I\O_OPERA #08 PASSAGGI-PAESAGGI composed of four monitors showing images of “blindfolded” people walking: a metaphor for our ephemeral, unknowing, ignored existence, the sole certainly of which is our passage on this earth. Thanks to these works, the most widespread prejudices are undermined in the face of a new logic: the people with disabilities are revealed as having a surprising capacity for imagining, perceiving, thinking and depicting reality and an unsuspected talent for analysis. The exhibition also includes an area specifically conceived as a documentation centre – Spazio DOC – in which visitors may leave evidence of their passing, of their opinions about the project and the works on show.

With this exhibition César Meneghetti, ever interested in research into geographical, political, linguistic and mental confines, affirms the revolutionary and transformative potential of art, capable of modifying our perception of reality and of ourselves and to offer an opportunity for sharing experiences. As the artist declares in reference to this work: “(… ) within the context of the creation I immediately identified with them and they with me. Art conformed itself as a privileged territory for the exchange of experiences and idea, for research into new meanings for both the artistic project and above all for the evolution of being. (… ) art cannot reach its objective if it precludes something or someone, nobody should be excluded or relegated to a land of silence and isolation. I am convinced that it is possible to produce alternative spaces, visions and logic there where many believe nothing, not even thought is to be found."

Thursday 19 November, 6.00 PM (Graziella Lonardi Buontempo Hall – admittance free while places are available) CESAR MENEGHETTI. L’ARTISTA, IL PROGETTO a meeting with the artist in which he will present the genesis of the works and the evolution of the project I\O_ IO È UN ALTRO. An account that will trace the phases in a four-year multi-disciplinary project based on facing up to differences and the overcoming of social and cultural barriers.

I\O_ IO È UN ALTRO is not only the title of the exhibition, but also the name of a project that was launched in the March of 2010, put together by the artist together with the people with disabilities involved in the Art Workshops of the Sant’Egidio Community which invited him. MAXXI has for some time established sensitive relations with groups of people who live in marginalised social conditions, inviting them to play an active role in the museum’s cultural life; the museum is dedicating to this project a programme of collateral activities developed in collaboration with the community itself as well as with the artist and Simonetta Lux, with the objective of offering the public the chance to modify their gaze, overcoming clichés, judgements and prejudices. PROGRAMME From 3 November | INTER_AZIONE / PRE PROGETTO Training of students, local associations, diverse publics and ten of the protagonists in the exhibition who will accompany the public during the period of the exhibition. From 10 November 2015 to 17 January 2016 | OPEN PLATFORM | workshop # 1 Responding to a request from the artist, members of the public are invited to leave their opinions regarding the issue of normality/diversity, filling in a form on the site www.fondazionemaxxi.it, or leaving their contribution at the museum in the Spazio doc area.

Tuesday 24 and Wednesday 25 November 2015 | A-SYMMETRICAL DIALOGUES | workshop # 2 - Spazio doc and Carlo Scarpa Hall The artist and a number of participants in the project will be interviewing exhibition visitors in a video cabin: the spectator becomes player on the scene of the work.

Friday 27 November 2015, 4.00 – 7.00 PM | ART AS A TOOL: THE ART OF EXCHNAGING WORLDS | conference with Amelia Broccoli, Filippo Ceccarelli, Peppe Dell’Acqua, Simonetta Lux, Dacia Maraini, César Meneghetti and Beppe Sebaste. Moderated by Alessandro Zuccari – MAXXI Auditorium Through multi-disciplinary interventions, this seminar will be exploring the themes of the exhibition and the project: the question of the confine between normality and diversity, the role of art in the exploration of the world of the excluded, the opportunities for change and overcoming prejudices.

2 December 2015, 5.30 PM | PER- FORMARSI: ACTION AS A FORM OF PERCEPTION | workshop #3 and performance – MAXXI atrium Starting out with the exhibition, the performance brings a silent language based on the body into the museum. Cristina Elias conducts an interactive performance in which public and performer unite in a single figure to explore the theme of invisibility. Through the negation of sight, one of the primary senses, a search for other forms of perception of the OTHER is activated.

Silvana Editoriale is publishing the catalogue CÉSAR MENEGHETTI I\O_ IO È UN ALTRO devoted to project and the exhibition with an introductory essay by Simonetta Lux, a presentation by Giovanna Melandri and a critical note by Hou Hanru.

CÉSAR MENEGHETTI (Sao Paulo, 1964) is a Brazilian visual artist and filmmaker. He studied in Sao Paulo, London and Rome. He has exhibited his work in over 40 countries and in diverse events: from the Venice Biennale to the Sharjah Biennial, from the Locarno Film Festival (Cinéastes du présent) to the Giornata degli Autori at Venice. From the late 1990s his work has been characterised by a profound interest in social issue and by constant research into the forms of language. In 2007 with K_lab he initiated a new phase in his research, expanding his interests to include the visual arts, film, mixed medial and relational art. Always attracted to reflection on the concepts of identity and memory, he began to investigate groups, people and unusual genres of “diversity” characterising the global era, through to the latest project I\O_ IO È UN ALTRO. The press pack and images of the exhibition may be downloaded from the Reserved Area on the Fondazione MAXXI’s web site http://www.fondazionemaxx.it/area-riservata/ inserting the password areariservatamaxxi.

MAXXI Press Office press@fondazionemaxxi.it tel. +39.06.322.51.78

CÉSAR MENEGHETTI. I\O_ IO È UN ALTRO Giovanna Melandri, President Fondazione MAXXI Giovanni, Annamaria, Daniela, Adriana, Fabio, Francesca and Gabriele are just some of the protagonists in César Meneghetti’s works, people with various kinds of physical and mental disabilities who become active participants in the act of artistic creation, offering a fresh perspective on life and unexpected and surprising insights. Taking its cue from a quotation by Rimbaud Je est un autre César Meneghetti’s exhibition at MAXXI aims to overturn society’s prejudices concerning the disabled and propel the visitor into “otherness”, a world without barriers and preconceptions. Supported by the Community of Sant’Egidio and organized by Simonetta Lux, the exhibition builds on a project first introduced at the 2013 Venice Biennale, which involved the collaboration of around 200 physically or mentally disabled people. In the words of César Meneghetti: “What I was most interested in was finding fresh points of view, perhaps new angles on life that we pseudo-normal people can no longer grasp”. Disabled people thus become the protagonists in his works, shaped as they are around interweaving dialogues; slivers of words, gestures and expressions that outline personal events, memories of a fraught past and dreams of a better future. In this way the museum’s Sala Scarpa is turned into a constellation of projected pictures, a universe of interlacing voices, bodies and images. Difference ceases to be an excuse for exclusion and art becomes an instrument to overcome marginalization, because, as Giovanni, one of the figures in Meneghetti’s videoinstallations, puts it, “I’ve got art on my side and I’ve overcome everything […] art is saving me”. This is the message we want the César Meneghetti I\O_ I IS AN OTHER exhibition at MAXXI to broadcast loud and clear, in the conviction that art should be made available to all, encouraging immigrants, people with various forms of disability and those often living on the margins of society to take part. An integral part of the exhibition is Art as a Tool : arte di scambiarsi i mondi, a series of subsidiary events organized in collaboration with the Community of Sant’Egidio’s Art Laboratories designed to reflect on the need to overcome the social barriers associated with mental disability. César Meneghetti I\O_ I IS AN OTHER thus confirms the museum’s continuing attention to this line of research and events, a focus established at its very opening that has brought a variety of different worlds into the limelight, thanks to the Festival of Mental Health, collaborations with immigration centres and the recent exhibition entitled I nostri figli sono opere d’arte (Our Children Are Artworks), which was held to coincide with World Autism Awareness Day. The MAXXI we want must be open to everyone and make integration and the acceptance of difference its lynchpin, for, as Meneghetti himself says, “art cannot fulfil its aim if it leaves someone or something out”.

HOU HANRU AN IRREDUCIBLE “I\O”. NOTES ON CÉSAR MENEGHETTI’S WORK Hou Hanru Artistic Director Fondazione MAXXI The work of César Meneghetti touches on two critical but seemly-unconnected fields: the excluded in the mainstream society and the creative use of technology in the arts. However, his dynamic and committed research and reflections manifest the necessity to relate them together if we want to truly understand the real meaning of life and creation in our time. Disabled – physically and mentally – people continue to be marginalized and excluded in our society. Ironically, while technological progress, especially digital technologies and internet, is bringing populations around the world much closer and fundamentally transforming the definitions of identity, cultural difference and relationship between the Self and the Other, it can also create more social gaps and reinforce the boundaries between the included and the excluded. On the one hand, poor communities, regions and even countries are increasingly leaving behind economic, social and cultural development and are forced to survive at the edge of the world. On the other hand, globalization of Neo-Liberal capitalism and its ideology, driven by technological progress, are not only prompting more radical social divisions, but they also dominate and even monopolize our imagination, language and our way of thinking, communicating and behaving at large. Those who don’t adopt the business-oriented language of communication – which is “secretly” reducing our ways of thinking and values in a “unique” one, and eliminating diversity and complexity of human minds and expressions – can hardly survive in the mainstream social life. We are so used to measure the efficiency of information, expression and communication by the standard of Twitter allowing up to 140 characters that we become not only lazy in reflecting more deeply on everything but also violently imposing this new “natural rule” to force the others to think, imagine and express in the same way. Even dreams are reduced to brief visits to the “paradise” or “hell,” while poetry, namely artistic expression, is replaced by superficial and sensational “representation”… In this context, the traditional communities of the marginalized such as physical handicaps, mentally disabled, blind, deaf, autistic, and “mad”, etc. not only suffer even more. Not only are they often further distanced from accessing most communication devices designed for “normal” people, but also, their ways of thinking, imagining and expressing – often incomprehensible for “normal” people – are further rejected from entering the highly standardized and regulated system of communication today. Then, it is even harder to see how society allows them any space to express their desire, fantasy and aesthetic enjoyment. Their life becomes much less complete than most of “normal” people’s, who in the context of general alienation, already suffer lack of accomplishment. It is also in this context that we can see the sympathy, courage and humanity implied in the project of César Meneghetti. In “I\O”, working with the disabled in collaboration with the Sant’Egidio Community, he resorts to up-to-date audio-video and digital technologies to encourage and facilitate disabled people to express themselves in public and further transform their expressions into artworks. A completely new world of imagination and representation of the truth, beauty, desire and spirituality, unknown to most of us, is now opened to our eyes. We are at once astonished and fascinated by it. And the language is rich and innovative. Moreover, it is absolutely relevant in our time, troubled by the crisis of our own making: exclusion of the weak ones, social division, wars and immigration-refugee “invasion”… It not only helps the marginalized and excluded to rediscover their own identities, namely, their own “Self – Io” (or in a digitalized formula, “I\O”). What is more significant is this eventually helps us to look into the truth of our own Self, our own “I\O”. Finally, one should be reminded the fact that César Meneghetti himself is an artist immigrated via a long trajectory across continents and cultures. This experience renders his work even more relevant because his artistic orientation is a integrate part of his own story. And it is irreducible. Rome, 15 October 2015

César Meneghetti: The I\O_ I is an other project and the art of exchanging worlds

Simonetta Lux, curator

César Meneghetti, a Brazilian artist of Italian origin, has been invited to Italy, to MAXXI, National Museum of XXI Century Arts, to present his work/project I\O_ I IS AN OTHER, its origin, the creative and relational process and what he calls his/our verifiche (checks) (from verifiche ≠01 to the current: ≠09). What César Meneghetti calls verifiche – and he numbers them by how many results there are in works, installations, art actions, public conventions, institutional and non-institutional places and worlds, inside and outside of the art system – the stages and crystallisations, whether in forms or in systems – we shall see how and why we call them artistic – of a relational creative process of which we ourselves have all been, from one time to the next, authors and witnesses, exchanging roles and identities, actors and subjects: other than the present author, other than Alessandro Zuccari and Cristina Cannelli, the friends of the Comunità di Sant’Egidio’s Art Laboratories, which is to say ‘people who have been for too long hidden/confined by the definition mentally disabled’: people brought to the ‘discovery of self as men and women who think, have value and create. It is an intense relational process, triggered by the artist, who from the first encounters has shifted – as he is accustomed to doing – a boundary, the boundary of ‘normalcy’. I invited César Meneghetti to work on and with disabled people after Alessandro Zuccari – my art history colleague at La Sapienza and one of the founders of Sant’Egidio – had invited me to pass from the academic world of art to the world of the Comunità di Sant’Egidio’s Art Laboratories, created for the excluded and the discriminated (there they are called friends). The artist knew that he was being called upon to create a new scenario of truth through art: breaking the boundary between reality and representation, bringing, with a shared creative process, revolution to that conditioned reality and to the reality of human/artist. The revolution put into motion by Meneghetti through education on freedom in the way of using media – according to the current concept of art from Guy Debord forward – is an action carried out while the process of awakening and liberation from a reclusive and discriminatory condition has already been begun, through the concrete institutional acts promoted by the Comunità di Sant’Egidio: with the regulations on the creation of non-differential paths in schools (Law no. 517 of 1977 and Law no. 270 of 1982), with the creation of enterprise and work and with the creation of the Art Laboratories. We talked about this in the multi-author volume ‘SLAZAACC con l’arte, da disabile a persona’. If the intelligence and communicative capacity of people with different physical and neurological disabilities had already been demonstrated, including through communication enhancement tools (W.O.C.E. Written Output Communication Enhancement), what more could art and the artist do, and how? (…) Prior to the actual work I\O_ I IS AN OTHER, the crystallisation of a long, arduous project/process passed through verifiche, César Meneghetti attributed the dignity of language to fragments, traces, remnants, narratives, instant parallelisms of far-away and contrasting worlds: Italy/ Brazil, Europe/American, Africa and European science and with all of the art apparatuses by now available – photography, montage, installation, sculpture, directing and/or set design – he fixed an opposition in the distance, he made particular issues emerge, universalising and narrating them, intercepting them thanks to his nomadic/immigrant status, which he shares with the artists and individuals of our globalised world. (…) The double revolution or interior liberation which César Meneghetti has spoken of on many occasions for himself and for others in the relational relationship, is the effacing of the boundary that separates visions and conditions of diversity from conditions of compulsory conformity, a solution to the struggle between subject and reality first lived and then lost, uncommunicated. César Meneghetti tells us about this work, the already-happened. The work of art/object, the crystallisation or temporary sign of vital, relational, perceptive processes would be in its essence insufficient for representing and for evidencing the process found in the integrating moment. Art is – and includes – this expressed, boundless process. In NOI DIAMO + SENSO, in the section ‘Che fa l’arte?’ I drew on the entry ‘la misconosciuta sapienza degli esclusi’ in one of Alessandro Zuccari’s essays, and observed that for at least thirty years (but it is already clear in Basaglia’s workshop experiences in Trieste), artists have known that the artwork is what art teaches us and that free creation, in the relationship with others, carries away misunderstood knowledge of self. This is why it is not by chance that César Meneghetti was fully caught up in the intelligent, emotional, friendly, spirited and pungent orbit of the friends of the Laboratories and that he perceived the ironic brightening of the soul, even if always sorrowful, of those together with whom he realised the project I\O_ I IS AN OTHER the works

(…) ITALY AND THE OTHER: A COMMON THREAD BETWEEN ART AND ALTERITY Before my invitation to César Meneghetti, an artist of the art world or the Art System, my experience with the Laboratories and the Comunità brought me to reveal to myself what I already knew mixed my studies of the political history of art, and so what was in Italy, during the contemporary period, the role of art or the artists’ view of alterity, that is of the condition of people (and of entire social classes) excluded (for example from school or work) or rejected (from conformed places of socialisation and relation) or isolated due to widespread misunderstanding, and therefore indifference, for their egalitarian condition as persons. (…) In short, there is a constant friction between layers or between structures or between different worlds, there is a continually blocked dialectic between individual initiative and social and political initiative, between the Bel Paese and the Beautiful Bel Paese. (…) In Italy, there is a common thread running through actions towards the emancipation of humankind from exclusion and segregation. And we do well to constantly go back over this thread, in part because it seems to me that the friends of the Comunità di Sant’Egidio are its most recent addition. The common thread that unites the historical course of actions carried out by specialists in different fields is an interweaving between art and the sciences, in the name of respect for the other as a person. (…) I was asking myself how it was – still – possible that such an incredible number of constrictive structures and a not yet wholly ‘inclusive’ school system could persist, here in Italy where we can trace a long, uninterrupted common thread of actions, educational methods and initiatives for the liberation of recognised faculties, potential and intelligences, that crosses over the whole history of united Italy, broken only by the two decades of Fascist dictatorship. From the artist Nino Costa (1826–1903) with his association In Arte Libertas, to the group of artists I XXV della Campagna Romana, from Maria Montessori (1870–1952) who died two years before the creation of the School of Barbiana, to Father Milani who founded it, up to Franco Basaglia (1924–1980) who freed the mentally ill, degraded to the status of non-persons, from mental hospital confinement. (…) On the other hand, it seems to me that the presence of art, artists and poets in all of the initiatives joined by that common thread – a thread that today clearly also runs through the history of the Comunità di Sant’Egidio among the disabled, the last, the excluded and the confined – moves parallel to and in harmony with the history of the actions of artists and a certain direction of contemporary art: art that does not assert itself as object, but rather as trace and event of relationship with the other, where the creation is staging (installation) of discards, rubbish and fragments, traces of the current concomitant fragmentation of subjects and languages. It is the infinite work of art, which in the most advanced areas of technology and digital networks produces itself in a continuous process of delivery and reworking of the other as person.

ARTWORKS I\O_WORK #08 PASSAGES-LANDSCAPES 2015 Of walking. A perpetual loss of balance. Life-size images of people appear on four monitors, as they stand upright and walk rightward and leftward with their eyes shut. A metaphor for existence, of our being ephemeral, passing forms – either ignored or unaware. Constant movement is the only way for us not to be mired down in mediocrity. Dislocation in space, our standard motion, is a constant loss of balance. Walking, passing, transiting are images of our existential condition. Imbalance and lack of certainty are our only certainty. I\O_WORK #01 VIDEOBOOTH #3 The VIDEOBOOTH ‘frames’ its interlocutors, recording their every gaze, gesture, stance, and words (including the words of those who cannot utter them, and type on a keyboard instead). Meneghetti has extrapolated a vivid sequence of stills which, edited into a quadripartite pattern, come into mutual exchange and interaction. What ensues is a wholly original Gallery of People who show themselves for what they are, in a display of dignity and fragility, and truthfully voice their views on matters of great moment (happiness, love, reality, solitude, death, seclusion, richness, change, normality and diversity...). […] It is almost the obverse of a canonical gallery of heroes and heroines, because their stance is that of the antihero, and their beauty is anti-canonical: authenticity is what lends them beauty. Not exempla virtutis, then, these characters are almost exempla veritatis...” (A. Zuccari, in Antieroica eloquenza degli esclusi, I\O, Maretti Editore 2013). What ensues has the appearance of a long take, although the sequence is in fact intricately and invisibly edited: providing a key to the overall project, the work portrays the disabled in some form of dialogue with each other that involves the audience too. I\O_WORK #03 EX-SISTENTIA 2015 Gabriele Tagliaferro is affected by an acute form of autism. With Ex-sistentia, César Meneghetti makes visible his awareness of a distance between his body and his intended actions and ideations. Ex-sistentia thus reveals to the art-viewing public how Gabriele perceives the space around him and how he experiences his own thoughts. Fifthy small monitors display the slowly revolving image of Gabriele, taken within the video booth. Word-fragments typed on a computer come at the close of each apparition. With each monitor displaying a different movement and the simultaneous sound of words and tunes in Gabriele’s own voice, we gradually come close to the root of his message that ‘all is word’. I\O_WORK #06 LOVISTORI The photograph tells of another life for Patrizia Nasini and another story for Vincenzo Camelia. The old life, related in their own voice, is no longer there and remains unseen. An entrance hall. A kitchen. A bedroom. A large photograph dominates the others. She, dressed in white. He, in dark dress. A small, happy, normal couple of newlyweds. Patrizia had been neither ‘normal’ nor happy beforehand. Behind the image, beyond the photograph, lie stories that no image can tell or enclose within itself.

The ART workshops The Community of Sant’Egidio’s commitment to people with disabilities began in Rome 40 years ago and has progressively extended to many other cities in Italy and Europe. Encounters with youngsters and adults with disabilities have represented the discovery of submerged disadvantages, of stories of exclusion and marginality. A personal and disinterested friendship has arisen that has committed to understanding and dealing with the difficulties and the expectations of each person with a disability with whom a relationship has been established. The Community of Sant’Egidio’s art workshops were founded in 1985 to respond to the demand for training and study for adults with disabilities who had not had the opportunity to follow integrated scholastic paths. In these places of training, of the learning of artistic techniques, of openness to the world, of relations and communication, the search for one's own approach and potential has led firstly to the very possibility of communicating and also to a process involving the appropriation of personalised expressive and artistic codices. The people involved have revealed ever more clearly a profound capacity for comprehending reality, their own judgement, thinking and view of the world. In recent years, the workshops have opened to encounters with contemporary artists. The dialogue and educational contacts with working artists has set in motion a process of joint responsibility and two-way participation involving the artists and the art workshops, enhancing the social and cultural transformation of the surrounding world and activities of the workshops favouring unshackled creativity. This new direction has led to the exhibition Noi l’Italia presented at the Quirinale on the occasion of the 150th anniversary of the Unification of Italy, together with the artist Anton Roca (2011), the exhibition at the Museum of Rome in Trastevere DUPLICAZIONI, TRADUZIONI, TRASFORMAZIONI by Marianna Caprioletti, an artist with Prendred syndrome (2012) and the participation in the 55th Venice Biennale with the special project I/O è un altro by the Italo-Brazilian artist César Meneghetti (2013). In 2014, Giovanni Fenu, Annamaria Colapietro and Roberto Mizzon together with César Meneghetti presented, in the monumental Santa Maria della Pietà complex in Rome, the exhibition entitled NOI DIAMO + SENSO, a selection of their works and a video installation by Meneghetti on the theme of detention for mental health reasons, to which Giovanni Fenu, Annamaria Colapietro and Roberto Mizzon were subjected.

The Community of Sant’Egidio The Community of Sant’Egidio was founded in 1968 in Rome, within the atmosphere of renewal of the Second Vatican Council. It is present in 73 countries around the world and brings together 60,000 people, committed freely and voluntarily to spreading the Gospel and service to the poor, to ecumenism and dialogue with the world’s great religion and to working for peace. In an innovative manner it combines friendship, concrete help and civil battles in defence of human dignity and rights, against xenophobia and intolerance while promoting cultural, legislative and local initiative favouring the co-existence of cultures, religions and ethnic groups in the belief that living together is the future. International expansion, with local staff, makes Sant’Egidio a naturally “local” and “global” phenomenon, capable of intervening in the most difficult areas of the world in the case of emergencies and war in a timely and efficient manner. The realisation of DREAM, one of the most extensive and effective AIDS treatment programmes in Africa, the launch of the global BRVAO! Campaign for the official registration and citizenship of the "invisible children" and the Città per la vita campaign for the abolition of the death penalty in the world are just a few of the most important aspects of Sant’Egidio’s commitment to respecting and defending life.

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ARCUS: INTERVENING IN SUPPORT OF CULTURAL HERITAGE

In the month of February 2004, the Ministry for Cultural Heritage and Activities was responsible for the constitution of Arcus SpA, a limited company devoted to supporting art, culture and the performing arts, in accordance with Law No. 291 of 16 October 2003. 291. The company capital is wholly underwritten by the Ministry of the Economy, while the company’s day-to-day activities are based on the programmes established by annual decrees adopted by the Minister for Cultural Heritage and Activities – who also exercises the shareholder rights – together with the Minister for Infrastructures. Arcus may also develop independent projects.

Arcus’s declared aim is that of providing innovative support for significant and ambitious projects within the world of cultural heritage and activities and its possible interrelations with the country’s strategic infrastructures.Within the ambit of Arcus’s mission, supporting projects entails identifying important initiatives, contributing to the completion of planning, intervening in organizational and technical aspects, participating – where appropriate or necessary – in the financing of the project, monitoring its development and contributing to its successful outcomeIt is important that Arcus’s modus operandi is clearly understood, as explained above: the company intervenes to provide organizational and financial support for significant projects, but in no way is it comparable to an agency for the distribution of funding, nor may it be numbered among the “scattershot” distributors of public or private funds.Arcus is, therefore, an original instrument for the support and launching of significant and innovative projects within the panorama of Italian culture. Economic support, where provided, must be seen as wholly instrumental within the ambit of a cultural project that is conceptually valid and operationally shared.

In more detail, Arcus provides assistance for initiatives relating, for example:

To achieve its aims Arcus draws on resources detailed in article 60 of Law 289 of 27 December 2002 (Financial Law 2003). The legislation provides for 3% of the funding for infrastructures being devoted to expenses relating to interventions safeguarding and in favour of cultural heritage and activities. Arcus is identified asthe recipient structure for these funds. Furthermore, in accordance with article 3 of Law No. 43 of 31 March 2005, the above-mentioned percentage is increased annually by afurther 2%. Moreover, the company may receive finances provided by the European Union, the stateand other public and private bodies.

Arcus also works to bring potential stakeholders into contact with the various projects.When necessary, therefore, the company contacts foundations with banking origins or otherwise,local authorities, exponents of local bodies and civic society, the universities and private individuals in order to aggregate around the initiatives increasing resources and coordinated financing.

Arcus’s ambitious project is therefore that of becoming the “glue” that renders operative the systemic capacity for the promotion and planned support of initiatives designed to enhance the cultural heritage and activities, with a view to ever better conservation, fruition and valorization. By taking appropriate measures, Arcus favours the necessary convergence of the various stakeholders, thus contributing to the success of the various cultural projects identified.

Arcus S.p.A.Via Barberini, 86 - 00187 Roma Tel. 06 42089 Fax 06 42089227 E-mail:

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to the establishment of projects for the restoration, redevelopment and improved fruition of the cultural heritage;

to the preservation of the landscape and cultural heritage through actions and interventions also designed to mitigate the impact of existing or forthcoming infrastructures;

to support the programming, monitoring and evaluation of interventions in the cultural heritage sector;

to promote planning within the cultural heritage and activities sector and that of the performing arts;

to identify and support projects valorizing and protecting cultural heritage through interventions with significant technological contents;

to support projects relating to cultural tourismin thebroadest sense of the term;

to promote the birth and constitution of cultural catchment areas in relation to emblematic examples of cultural heritage within the ambit of an integrated and systemic vision capable of linking local cultural heritage, infrastructure, tourism, allied industries and transport;

to intervene in the broad-based sector comprising initiatives designed to render the cultural heritage fully accessibleto the differently able.

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

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ENEL IS THE FIRST PRIVATE FOUNDING MEMBER OF ITALY’S MAXXI CONTEMPORARY ART MUSEUM Enel is a multinational power company and a leading integrated player in the world’s power and gas markets, with a particular focus on Europe and Latin America. Enel Group operates in over 30 countries across four continents, producing energy through a net installed capacity of nearly 89 GW and distributes electricity and gas through a network of approximately 1.9 million kilometres. With 61 million users worldwide, Enel has the largest customer base among European competitors and figures among Europe’s leading power companies in terms of installed capacity. 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. It is in this context that Enel has joined up with the Fondazione MAXXI, becoming the museum’s first private founding member. Enel’s participation in the Fondazione MAXXI will see the company offer it a membership contribution over the next three years, while the business will also partner the foundation in an ambitious energy efficiency plan for the museum that will highlight sustainability and energy savings. 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 represent their driving force. The company does this acting with respect for the environment and the communities that host its operations.

Alcantara and MAXXI: Artistic Excellence and Creativity

A timeless material, unique of its kind and with vast expressive potential, Alcantara partners with art and architecture to open itself up to new interpretive languages. After the success of the three exhibitions Can you imagine?, Shape your life! and Playful inter-action (fully described in a dedicated catalogue) the partnership between the Italian company that has been producing the homonymous trademark material for nearly forty years and the national Museum of 21st century arts goes on. During the three years of its existence, the Alcantara-MAXXI project has seen two institutions – museum and company – work together and apply themselves in a continuous exchanges of skills and experiences. This generated a collaboration-and-dialogue model of enormous creative intensity and, over the years, has involved more than twenty well-established designers and young international talents. “The partnership between MAXXI and Alcantara is strategic and works on a new form of collaboration between a museum and a company,” says Giovanna Melandri, President of the MAXXI Foundation. “While both MAXXI’s and Alcantara’s core business includes supporting and promoting up-and-coming creative talents, this kind of joint venture goes far beyond the traditional concept of sponsorship, opening the way to a creative alliance that enriches all those involved.” “It’s our firm belief,” states Andrea Boragno, President and CEO of Alcantara S.p.A., “that today the meaning of an efficient relationship between a company and a museum is in their concrete will to explore new expressive spheres, disengaging themselves from their role as a simple patron and, rather, choosing to establish a true cooperation, which stems first and foremost from an exchange of knowledge.” This vision is shared by Margherita Guccione, Director, MAXXI Architettura, who states that, “Alcantara-MAXXI is a new model of collaboration between a company and an architecture museum. The interchange gives both of them an opportunity for sincere dialogue focused on a common, innovative vision. Thanks to the involvement of 21 international designers we have over the past three years looked to the future and experimented, in MAXXI’s exhibition spaces, with the creativity and versatility of this incredible material.”

Founded in 1972, Alcantara represents a prime example of Italian-produced quality. As registered trademark of Alcantara S.p.A. and result of a unique and proprietary technology, Alcantara® is a highly innovative material, offering an unrivalled combination of sensory, aesthetic and functional qualities. Thanks to its extraordinary versatility, Alcantara is the choice of leading brands in a number of application fields: fashion and accessories, automotive, interior design and home décor, consumer-electronics. These features, together with a serious and certified commitment in terms of sustainability, make Alcantara a true icon of contemporary lifestyle: the lifestyle of those who want to fully enjoy their everyday life, respecting the environment. Since 2009 Alcantara is certified “Carbon Neutral”, having defined, reduced and offset all the CO2 emissions derived from its activity. In 2011 the analysis was extended to the whole product lifecycle, including also use and disposal phases (“from cradle to grave”). To mark out the path of the company in such a field, every year Alcantara draws up and publishes its own Sustainability Report, certified by TÜV SÜD international authority and available also on the corporate website. Headquartered in Milan, Alcantara production site and R&D department are located in Nera Montoro, in the heart of Umbria Region (Terni).