A sophisticated and modern restaurant within the Double Tree by Hilton Rome Monti Hotel.
The Mamalia restaurant is a culinary gem located inside the DoubleTree by Hilton Rome Monti Hotel. Open year-round from breakfast to dinner (from 6pm to 10pm), this restaurantin Rome offers a unique dining experience in a modern and elegant setting, bathed in warm natural light in the morning and soft lighting in the evening.
Starting with breakfast: the offerings range from sweet to savory, including vegan and gluten-free options, as well as yogurt, cereals, fresh fruit, and typical products from Lazio, all accompanied by Lavazza tea and coffee.
For dinner, the atmosphere becomes even more refined, with an original gastronomic journey designed by the chef, respecting tradition and the seasonality of the ingredients. The cuisine honors Italian culinary tradition while embracing contemporary influences.
The restaurant’s menu, accessible directly from the hotel rooms for guests, offers a wide selection of refined Mediterranean dishes. Starters include Mediterranean prawns with mango, radishes, cucumbers and Serrano chili pepper, as well as tuna carpaccio with green bean salad. For first courses, highlights range from Acquerello risotto creamed with Roman courgettes, anchovies and mint to pici pasta with farmyard ragù, toasted hazelnuts and Pecorino di Fossa cheese.
For meat lovers, Mamalia relies on the expertise and quality of the Galli butcher shop, a symbol of excellence in Rome for over 70 years, offering the best meats from Italian and European farms.
Indulge in the beef ‘tagliata’ yoza selection, rosemary entrecôte yoza selection, or the scottona burger with burrata cheese from andria, caramelized onion and lettice.
Three types of Roman-style pizzas complete the menu: Margherita with Buffalo Mozzarella and EVO Oil, Diavola Pizza, and Vegetable Pizza with Mozzarella and Grilled Vegetables.
Alongside the culinary offerings, Mamalia also boasts a selection of prestigious national and international wines, with a special focus on Lazio wines. Let the staff help you choose the perfect wine to accompany your dinner!
Mamalia complements the food and beverage offering of DoubleTree by Hilton Rome Monti alongside Mùn rooftop cocktail bar. With top-quality local ingredients and the chef’s creativity, the restaurant combines originality and tradition in the heart of the Monti district, making it a refined choice for an unforgettable evening in Rome.
Un unmissable shopping event with discounts of up to 70% on April 12
With the arrival of spring, the Fashion Festival returns: on Sunday, April 12th, Castel Romano Designer Outlet comes alive with an unmissable day of discounts and promotions, taking place simultaneously with the other McArthurGlen centres in Serravalle, La Reggia, and Noventa di Piave. A true day of celebration, with extraordinary opening hours from 9:00 am to 8:00 pm, designed to offer not only an exceptional shopping experience, but also a pleasant Sunday outdoors for the whole family.
During the Fashion Festival, visitors will be able to enjoy extraordinary discounts of up to 70% off the outlet price on more than 300 products from the spring/summer collection. Iconic pieces and stylish accessories from much-loved brands, including Nike, Michael Kors, Adidas, Levi’s, Diesel, Sunglass Hut, and many more, will be part of the promotion. It is a unique one-day opportunity to refresh your wardrobe with versatile and on-trend pieces perfect for the warmer months. In addition to the items discounted by up to 70%, there will also be many other special offers throughout the day.
As always, the Fashion Festival is not just about shopping, but also about enjoying the experience. Children can look forward to balloons and fun in the playground, there will be a dog area for four-legged friends, and everyone will have the chance to explore the WWF-affiliated oasis at Castel Romano.
As always, the Fashion Festival is not just about shopping, but also about enjoying the experience. Children can look forward to balloons and fun in the playground, there will be a dog area for four-legged friends, and everyone will have the chance to explore the WWF-affiliated oasis at Castel Romano.
How to reach Castel Romano Designer Outlet
Getting to Castel Romano on Sunday, April 12th will be even easier. For the occasion, a paid shuttle service will be available from Termini Station (Via Giolitti), with increased frequency starting at 8:30 am, while from EUR Fermi Station (Viale America) the service will run from 9:00 am and will be free exclusively for McArthurGlen Loyalty Club members.
To plan your day in advance, you can browse the full selection of products included in the promotion on the centre’s official website.
A journey through the works of one of the most popular artists of twentieth-century Italy.
At Palazzo delle Esposizioni in Rome, visitors can explore, until July 12, a major retrospective dedicated to Mario Schifano, one of the most significant and popular figures in Italian art of the second half of the twentieth century.
The exhibition, curated by Daniela Lancioni, brings together more than 100 works from Italian and international public and private collections, arranged in chronological order in the museum’s large ground-floor rotunda and the seven adjoining rooms.
A journey through the artist’s imagination, from the informal, richly textured works of the 1950s to the first monochromes of the following decade, including iconic paintings that revisit major movements in art history that came before him, as in the case of the Futurists.
Futurismo rivisitato a colori, 1965, Collezione privata
The 1980s saw works inspired by the language of television and cinema take center stage in his practice, while the 1990s were devoted to themes of social emergency.
Mario Schifano dared and experimented: the exhibition highlights his innovations, underscoring the complexity of his work and its strong connection to the contemporary world, and beyond. His pictorial research, often ahead of its time, always remained aware of the importance of the artistic legacy of the past. His style reveals an exuberant and ongoing regeneration of painting through the use of highly diverse techniques, materials and processes.
Il nòcciolo tenero e sensibilissimo del suo animo è la passione per la pittura.
Cesare Vivaldi, critic and poet, on Mario Schifano in 1963.
After the retrospective exhibitions dedicated to Cesare Tacchi, Jim Dine, Don McCullin, Boris Mikhailov and Carla Accardi, Palazzo delle Esposizioni continues its exhibition program aimed at highlighting figures and movements that have significantly shaped Italian visual culture since the mid-twentieth century, with particular attention to the city of Rome.
The exhibition will be accompanied by a rich program of educational and entertainment activities. Of particular interest is the free-admission film series Al cinema di Schifano, featuring screenings of films made by the artist in the museum’s cinema hall. Throughout the exhibition route, visitors will also be able to watch the short films Schifano created over the course of his career.
More than 50 masterpieces from the Vienna museum celebrating a remarkable chapter of European art and history.
The rooms of the Museo del Corso at Palazzo Cipolla will host, until July 5, the highly anticipated exhibition From Vienna to Rome: Habsburg Treasures from the Kunsthistorisches Museum, a journey through art and history that is also a dynastic portrait, emblematic of the splendor of the Empire and the cultural ambition of the Habsburgs.
Promoted and produced by the Fondazione Roma in collaboration with the Kunsthistorisches Museum (KHM), the exhibition, curated by Cäcilia Bischoff, brings together more than 50 masterpieces commissioned between the 16th and 19th centuries by key figures of the House of Habsburg, offering a portrait of an empire that used art as a powerful instrument of cultural representation, the dissemination of knowledge, and dialogue between civilizations.
The exhibition route
The exhibition opens with a room dedicated to the architecture of the Kunsthistorisches Museum, the monumental building designed by Gottfried Semper and Carl Hasenauer and inaugurated in 1891 as part of the major urban plan commissioned by Emperor Franz Joseph I. The museum is placed in dialogue with Palazzo Cipolla, the Roman venue hosting the exhibition, through the figure of its architect Antonio Cipolla, who was active during the same decades.
The rest of the exhibition celebrates, through distinct sections, European painting between the 16th and 17th centuries, presented through its main genres and geographic origins: Flemish, Dutch, German, and finally Italian.
The great representatives of Flemish art are present with works characterized by intense colors, where nature takes center stage, as in the floral explosion of irises and butterflies by Jan Brueghel the Elder.
The great representatives of Flemish art are present with works characterized by intense colors, where nature takes center stage, as in the floral explosion of irises and butterflies by Jan Brueghel the Elder.
While the section dedicated to 17th-century Dutch painting focuses on genre scenes drawn from everyday life, a subject particularly favored by the bourgeois and Protestant society of the time, the German section draws inspiration from the precious Renaissance legacy of Lucas Cranach, a key figure in shaping an autonomous artistic language characterized by strong stylization and an exceptional mastery of line and drawing.
The innermost rooms of the exhibition maze are devoted to objects from the Kunstkammer, the celebrated Renaissance cabinets of curiosities: a collection of natural oddities and creations of human ingenuity, intended to astonish and delight the eyes of the visitor.
Over the course of more than three centuries, Habsburg collecting led to the acquisition of extraordinary works that reflected the tastes of different patrons, yet were all united by a single common thread: excellence. Above all stands Diego Velázquez, with his portrait of Infanta Margarita in a blue dress, an iconic work of court portraiture. The precise, almost severe rendering of the child’s clothing and hairstyle is softened by the youthful blush of her cheeks and the emotional and psychological intensity of her gaze.
Italian painting holds an important place in the Viennese collection. On display are masterpieces by Titian, Tintoretto, Veronese, Orazio Gentileschi, Guido Cagnacci, and even a stunning Caravaggio.
The Rest on the Flight into Egypt by Orazio Gentileschi is a family portrait of striking realism, depicting Saint Joseph lying awkwardly asleep from exhaustion while the Virgin nurses the infant Jesus, whose gaze is directed toward the viewer, a device often used in painting to draw the spectator into the scene.
In Mars, Venus and Cupid by Titian, the soft, rosy nude of the goddess of love, a symbol of seduction and surrender to pleasure, contrasts with the pale, moonlike coldness of the lifeless body of Cleopatra in Guido Cagnacci’s painting, lost in the sleep of death after the bite of the asp, still coiled around her arm, under the desperate gaze of her attendants.
Last but not least, the final room comes as a surprise thanks to the presence of Caravaggio’s Crowning with Thorns, one of the masterpieces of the exhibition. It is a dramatic scene, rendered with an almost photographic composition and marked by the masterful use of light and shadow, in which a suffering Christ, noble and strikingly beautiful, is at the mercy of two male figures, crude and brutal both in appearance and gesture. On the left, a knight in 17th-century armor, contemporary to the painter, watches the scene almost as if he were in a theater, with his hand resting on the edge of the frame, symbolically invading the viewer’s space in a perspectival game that blurs the boundary between art and reality.
Villa Medici is honouring the photographic work of the artist and filmmaker Agnès Varda
From February 25 to May 25, 2026, the French Academy in Rome – Villa Medici pays tribute to the photographic work of artist and filmmaker Agnès Varda with the first major retrospective dedicated to her in Italy. Here, the photographer and the filmmaker in Varda come into dialogue through 130 original prints, film excerpts, publications, documents, posters, set photographs, and objects that belonged to the artist.
The exhibition also brings together works by several other artists: Giancarlo Botti, Michaële Buisson, Alexander Calder, Martine Franck, Dominique Genty, JR, Liliane de Kermadec, Michèle Laurent, Claude Nori, Laurent Sully-Jaulmes, Robert Picard, Valentine Schlegel, Collier Schorr.
Agnès Varda, Autoportrait dans son studio rue Daguerre
The exhibition route
At the heart of the exhibition is the courtyard-studio on rue Daguerre, a place of life, creation, and experimentation for Agnès Varda for nearly seven decades, inseparable from her work. Used as a photo studio, a photographic lab, and the venue of her first exhibition in 1954, it was later shared with her partner, filmmaker Jacques Demy. From this space, the beating heart of her universe, the exhibition then unfolds into the artist’s travel experiences in Italy, from Venice to Rome, through Renaissance villas and gardens and on film sets.
The photographs and film excerpts on display highlight her unconventional gaze, tinged with humor and singularity: from her early work in her Paris atelier to her first steps into cinema, which placed her close to the Nouvelle Vague, from images focused on women’s themes and those living on the margins to her travel reportages.
Agnès Varda had a deep connection with Italy, highlighted here through a selection of previously unseen photographs taken during two stays: in Venice in 1959 and again in 1963. She traveled to the lagoon city while scouting filming locations for La Mélangite (ou Les Amours de Valentin), a film that was never completed. Her photographs capture her discovery of Italy and her taste for the picturesque, playing with shadows and contrasts.
It was during this trip that she created one of her famous self-portraits in front of a painting by Gentile Bellini, humorously playing with the hairstyle that would later become her signature.
In May 1963, the French magazine Réalités commissioned her to photograph Luchino Visconti, newly awarded the Palme d’Or for The Leopard. She then headed to Rome with three cameras: beyond the celebrated director, Varda also crossed paths with Jean-Luc Godard, who was in the same period filming Contempt at the Titanus studios.
The exhibition, the result of extensive research, draws on Agnès Varda’s photographic archive, as well as the archives of Ciné-Tamaris, the production company she founded, now run by her children Rosalie Varda and Mathieu Demy.
The exhibition features two extraordinary works from Mongolia, celebrating the dialogue between East and West.
From 20 January to 22 February 2026, Borghese Gallery offers visitors a unique opportunity to admire works usually kept tens of thousands of kilometres away, brought together for the first time as expressions of the same historical moment. In collaboration with Turin’s Museum of Oriental Art, the museum will present two extraordinary works by Mongolian artist Zanabazar, creating an original dialogue between East and West under the banner of global Baroque.
Zanabazar was the spiritual name of EshidorJi, born into the noble lineage of Genghis Khan. Born in the heart of the Asian steppe, he lived in the 17th century and was revered as the reincarnation of one of the Buddha’s five hundred original disciples.
A spiritual leader of extraordinary charisma, Zanabazar was also a brilliant linguist and, above all, the greatest Mongolian sculptor of the modern era. He and his disciples produced works deeply inspired by journeys and stays in Tibetan monasteries, revered as sacred objects in places of worship and in the temples he founded across Mongolia. Among these, the representations of Tara stand out for their exceptional aesthetic value: feminine manifestations of the Buddha, deities associated with protection, liberation, and the inner states of being.
Zanabazar succeeded in spreading Buddhism across Mongolia on an unprecedented scale, making it accessible to ordinary believers.
Zanabazar was a contemporary of Bernini: both left an indelible mark on their respective cultures, one in Europe, the other in Asia. Each introduced new artistic languages, developing innovative visions and original methods to reinterpret traditional themes and subjects, creating models that would profoundly influence generations to come. Two distant worlds, one creative force capable of changing the course of art history.
The two works on display, a refined Green Tara and a bronze self-portrait sculpture of Zanabazar seated on a throne, come from the Chinggis Khaan National Museum in Ulaanbaatar, Mongolia, and are presented to the public in a context of dialogue and comparison unlike any before. This is the first time Zanabazar’s works have reached Europe, and for the first time ever, visitors to a Western museum can experience these masterpieces and appreciate their aesthetic and formal affinity with our own artistic heritage, marking a unique encounter full of potential.
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