My description won’t be a critical or technical of a monument, but a journey into a place. An occasion to underscore how much Art is a social human means in the first place. We are in 2009, when the former premise hosting Fiorucci plant was occupied. Why? Sorting out many dwelling points of many, an entire needy multiethnic community where to live, but at the same time a sign of protest against a colossus of contruction buildings  like Srl Salini, owner of the premise.

It is right there that the curious story of MAAM starts, museum of Other and elsewhere, a building apparently abandoned in the background of Rome outskirts. This is the frame where the artistic-anthropologic project came to life. Art and death bind, better sais, Life-Art & Deathas the particularity of this museum is its normal daily routine. Let me explain that.

MAAM-Edificio-centrale.-Sulla torre il telescopio-opera-di-G.-Maria-Tosatti-e-simbolo-di-Metropoliz-photo-G. Ottaviani

You will not find any gigantic signs to show you the entrance you do not need an admission ticket but only enter by a big gate where a new reality will surround you. A large house where many families live and you will be their guests and visitors.

Artists saw a place of resurrection, a sort of cultural phoenix from whose ashes the museum stands. A redevelopment of a place that, once scenery of death and slaughter, it is now a home and a place of culture. Our vision of “container” of Art is strictly connected with a stereotype, the museum: a place of excellence that has welcomed, safeguarded and fosters Art, but the piece of art is not made of cases, lights, or sensors.



Art is a social a good, symbol of communication and union. It is  exactly this place where Salvatore Cammilleri’s work was born: Memorial Monumento ad un caduto.

Last September 23rd the court yard of MAAM hosted the unveil.

Visitors were thrown into a memorial. A funeral oration to those who are not here anymore.

The monument was enshirned by real and modern vestals (performers: Fabrizia Ranelletti & Alessia Vegro), witnesses of this art work and with the music by Francesco Mascio and Silvia Struglia’s live painting that underscored the transience of this event.


Fabrizia Ranelletti – performer

You may wonder: what is then this piece of art? A fried egg!

Yes, the artist used this daily element, mainly pop, to make the piece of art.


Le vestali

Certainly seeing a crowd around a fried egg is unusual and ironic. A provocative commemoration that deals with a serious and profound theme with an hilarious touch: death. We are all done! Better said: sooner or later we will all be. An egg, a white and fragile thing, has always symbolized primordiality and resurrection, circle of life and the unstoppable regenerating of lives. Let’s put equestrian monuments, pyramids and sarcophaguses away. We are in 2017!

Salvatore Cammilleri -artist

Time goes by quickly and we will never be enough, and above all no one will ever spend their time making us a sculpture. Cammilleri is one step ahead and reminds us our inevitable end in an ironic way. The venue where the work will be displayed is not ironic at all but is instense. You, as a distracted visitor that will pass by this smashed egg on the floor. Stop, think of these words:

[…] to our beloved, fallen in the pursue of an ideal – a daydream – in the name of a country that greeted him with open arms, but, deep down he felt it as his, earth’s that now is over him from head to toe. He fought as much as he could gratified with a life that gives and takes away. Satisfactions , sorrow, banality and consistency, rhetoric a drain […] – cit. from funeral oration by Capopodiluce.

Are you still laughing?

Article by Loriana Pitarra

English translation by Chiara Vilmercati