The Fondazione Memmo-Arte Contemporanea was established in 2012, thanks to the initiative of Fabiana Marenghi Vaselli Bond e Anna d’Amelio Carbone and presents a new exhibition programme, entirely dedicated to the contemporary art scene. The aim is to contribute to the development of a local cultural texture in a global perspective, connecting international realities and promoting the interaction between the artists and the city of Rome. Through the organization and production of exhibitions, performances, residencies, talks, conferences, workshops and arts publications, the Fondazione Memmo desires to promote the present time in order to contribute to the development of our future.
Giuseppe Gabellone, upcoming 2017
Conversation Piece | Part 3, 2017
Camille Henrot, Monday, 2016
Conversation Piece | Part 2, 2016
Conversation Piece | Part 1, 2015
Shannon Ebner, AutoBody Collision, 2014
Sterling Ruby, CHRON II, 2013
Sara VanDerBeek, 2012
The Memmo Foundation came into being to realise the dream of its founder, Roberto Memmo. His generous work has facilitated and enabled this cultural activity to flourish. The Foundation has displayed masterpieces of every age and every culture, with the objective of bringing a broad public closer to the world of art. Over the years, the Memmo family has actively collaborated with Italian and international museums, as well as with public and private institutions. The exhibitions organised by the Foundation have been seen by over three million visitors.
In 1991 Roberto Memmo inaugurated his Foundation with the exhibition Espressionismo – Da Van Gogh a Klee in which were shown a selection of master-works from the Thyssen-Bornemisza collection. Since then the cultural events promoted in the exhibition spaces of Palazzo Ruspoli have multiplied and grown with ever increasing importance, receiving both public and critical consensus. The same year saw a further five exhibitions: Il segno del Genio: cento disegni dall’Ashmolean Museum di Oxford brought together a collection of works of exceptional quality by Italian and other masters, including Raphael, Michelangelo, Leonardo da Vinci and Dürer; this was followed by an exhibition of paintings by Lucien Freud. Next came a double exhibition of works from the Herimtage, Saint Peters- burgh: the first on Antonio Canova (the Hermitage owns the largest body of sculpture by the Venetian master, consisting of fifteen marbles) the majority of which were lent to the Fondazione Memmo, to be exhibited in Italy for the first time, at Rome and Venice. The second exhibition in collaboration with the Hermitage, to open at Palazzo Ruspoli was on a collection of seventeenth and eighteenth century works in terracotta by leading Italian masters. The collection exhibited had originally been formed in the late eighteenth century by the Abbé Filippo Farsetti, and was subsequently sold to the Russian museum.
Among the exhibitions presented in the following years remember Neferatari, Luce d’Egitto in 1994; Alessandro Magno. Storia e Mito; Fayum. Misteriosi volti d’Egitto. The Foundation next pursued a series of exhibitions drawn from private collections, with the intention of bringing a broader public closer to works that were usually inaccessible. Among these we might remember: Paul Klee. La collezione Berggruen; Da Cranach a Monet. Capolavori dalla collezione Pérez Simon and Capolavori che ritornano. I dipinti della collezione Gruppo Banca Popolare di Vicenza. The Foundation’s intense collaboration with the Royalty of many states brought many fruits. In between these experiences, there emerged a series of projects in collaboration with the Fondo Edifici di Culto del Ministero degli Interni (the Italian Ministry of the Interior’s collection of art works drawn from supressed religious institutions at the time of National Unification). The exhibitions Fiamminghi ed altri maestri; Antichi Telai and I Caravaggeschi were all formed from important bodies of work, carefully selected from these important holdings.