Imagine a vibrant city pulsing with creativity, where art isn't just displayed—it's lived and breathed. That's the heart of Rome's upcoming transformation, and it's about to unfold in a way that might just redefine what a museum can be. But here's where it gets controversial: is turning a museum into a 'living, breathing' part of the urban scene the bold future we need, or a risky overreach that blurs lines between art and everyday chaos? Stick with me as we dive into the details of MACRO's grand reopening, and you might find yourself questioning your own ideas about culture and community.
On December 12, 2025, the MACRO—Museum of Contemporary Art of Rome—will swing its doors open again to visitors, embracing a fresh institutional outlook guided by artistic director Cristiana Perrella. Picture the museum as a dynamic, multi-voiced entity, much like a symphony where every instrument plays a vital role. This isn't just a collection of artworks; it's a responsive hub that echoes the ups and downs of the city it calls home, dedicated to fostering knowledge that spills far beyond the traditional gallery walls. The kickoff season, stretching through April 2026, pays homage to Rome's constantly evolving cultural tapestry—a bustling, scattered web where artistic expressions, music, film, and urban happenings collide and inspire each other. For beginners wondering what this means, think of it as a vibrant ecosystem where creativity isn't confined to one spot but spreads like roots through the soil, nurturing new ideas organically.
Rather than seeing Rome as a fixed stage set, this initiative views the city as a dynamic player—a playground of endless reinvention, fueled by grassroots movements, unofficial collaborations, fresh perspectives, and activities that push past the usual boundaries of modern art. The reopening isn't just a local affair; it's a chance for Rome to tell its story to the world, leveraging global connections that MACRO is eager to ignite in this exciting new era.
Four exhibitions will launch at the same time, weaving a story that jumps across time periods, sizes, and styles. Together, they sketch a Rome in flux—highlighting its innovative frameworks, its internal conflicts, and the dreams it sparks. And this is the part most people miss: how these shows aren't isolated; they're interconnected threads in a larger narrative about urban life.
First up is UNAROMA, curated by Cristiana Perrella alongside former director Luca Lo Pinto. This ambitious project captures the eclectic, cross-generational art world thriving in Rome right now, like a sweeping camera shot on a virtual green screen. It features over seventy artists embedded in a space designed by Parasite 2.0, turning MACRO into a flexible, ever-changing studio. The show unfolds in three parts: 'Set' gathers fresh and obscure pieces along a green pathway on the ground floor. 'Live' extends this into a full 3D environment upstairs, with ongoing performances, music events, talks, workshops, and film screenings that physically alter the display. 'Off' takes UNAROMA beyond the museum walls, linking up with independent Roman venues for related but self-directed projects. In essence, UNAROMA morphs into both a gallery experience and a supportive network—a shared movie script co-authored by many voices.
Next, 'One Day You’ll Understand. 25 years from Dissonanze,' also led by Perrella, looks back at the groundbreaking festival from 2000 to 2010 that made Rome a hotspot for electronic tunes and digital innovation. Using a wealth of archives—photos, sounds, and designs—it recreates the vibes, setups, and social scenes that Dissonanze sparked across the city, from Pietralata's streets to the Palazzo dei Congressi, and even spots like Ara Pacis and Cappa Mazzoniana. Housed in two historic MACRO rooms, this isn't about wallowing in nostalgia; it's a mirror for pondering how Rome embraces and adapts experimental ideas. A special research session by Carlo Antonelli and Valerio Mannucci brings this to life with modern discussions involving artists, curators, and cultural experts.
Then there's 'Jonathas de Andrade. Sisters With No Name,' where Perrella unveils a brand-new film by Brazilian artist Jonathas de Andrade, created in partnership with Conciliazione 5 and produced by Fondazione In Between Art Film. Drawing from research at Fondazione Lelio e Lisli Basso, the film traces the journey of Brazilian nuns from the 1960s who blended faith, political action, and community teaching, only to flee to Rome after persecution under the military regime. Through old documents and personal accounts, de Andrade maps a global path of defiance, linking these women to wider movements for education and freedom, while subtly connecting geographies from Belo Horizonte to Rome. It's a powerful reminder of how personal stories can resonate across borders.
Finally, 'Inhabiting the Ruins of the Present,' curated by Giulia Fiocca and Lorenzo Romito from Stalker, explores Rome as a testing ground for community-driven renewal. Building on work shown at the 2025 Austrian Pavilion of the Venice Architecture Biennale, the exhibition delves into ways people adapt amid environmental and social challenges, emphasizing recycling, greening, and collective management. From the towering Corviale complex to the wild Lago Bullicante, and from squatted buildings to neighborhood initiatives, it proposes a fresh way of understanding cities where 'ruins' aren't dead ends but fertile grounds for new possibilities. For those new to this, it's like seeing urban decay not as a problem, but as a canvas for creative reuse—think turning abandoned lots into community gardens.
The reopening also marks the debut of Cine-città, MACRO's fresh film initiative, overseen by Sergio Sozzo and Sara Pirone with CSC–Cineteca Nazionale. Centered on Rome's current cinema world, it spotlights emerging directors' work every Friday, while Sundays feature city-focused films chosen by renowned Italian and international filmmakers.
Through all these exhibitions, screenings, and live happenings, MACRO reaffirms its place as a public and global stage—a bold, welcoming arena where Rome's creative forces aren't just on view, but actively stirred, debated, and reshaped. With Perrella at the helm, the museum steps into a new era built on exchange, blending influences, and collective dreaming.
This initiative, backed by Roma Capitale's Department of Culture and organized by Azienda Speciale Palaexpo, was envisioned by artistic director Cristiana Perrella. It launches her idea of a diverse, energetic, and open institution, where the exhibition lineup pairs with daily activities to make MACRO a truly accessible, culturally alive spot.
But here's the thought-provoking twist: while some might argue that museums should stick to preserving the past, isn't there something liberating about letting them evolve into active participants in urban life? Or is this experimental approach just a fad that risks diluting art's purity? What do you think—does blending art with city rhythms make culture more inclusive, or does it complicate things unnecessarily? Share your views in the comments; I'd love to hear if you agree, disagree, or have your own take on museums like MACRO!
