* Hadrian and Athens Conversing with an Ideal World – from 28th November 2017 at the Archaeological Museum of Athens (Greece)
The National Archaeological Museum, in collaboration with the Italian Archaeological School at Athens, organizes the temporary exhibition “Hadrian and Athens. Conversing with an Ideal World“ in the Gallery 31a of the Sculpture Collection. The exhibition marks the 1900 years since the beginning of Hadrian’s reign in 117 AD, an anniversary that is being celebrated in manifold ways by major European museums and cultural institutions.
The exhibition aims to give visitors a unique opportunity to view exhibits which showcase Hadrian’s philhellenism and highlight his immense and enduring legacy. By promoting the integration of Greek intelligentsia with Roman tradition, Hadrian contributed decisively to forging a common cultural base that served as a fundamental element of western culture. From this viewpoint, the exhibition marks and heralds the launch of the European Year of Cultural Heritage in 2018. All of the exhibits featured, 40 in all, come from the National Archaeological Museum’s collections.
The exhibition will have a year-long duration.
* The youth of Mantineia – from 16th April to 22th July 2018 in the “Hall of the Altar” (hall 34) of the Archaeological Museum of Athens (Greece)
The Unseen Museum is the successful project of the National Archaeological Museum that presents selected antiquities from the unknown world of the storerooms. One after the other emerge for a limited amount of time from their secure state of obscurity into the light, inviting the fans of rare memorable moments to capture their stories and narratives.
The statue currently presented portrays a beardless youth in motion. He wears a chlamys that covers his back and is wound round his hand. The head, turning slightly to the left, is covered by a mass of hair in dense locks, spreading at the largest part of the forehead. The sculpture is a variation of a statuary type of the late Classical or Hellenistic times, most probably of god Hermes, a type that was also used for statues of Odysseus and Perseus. The head shows the features of young Antinous, a favourite of emperor Hadrian.
* Hadrian, Saviour and Builder – from January to July 2018 at the Fethiye Mosque in Athens’ Roman Agora (Greece)
The exhibition is being organized by the Ephorate of Antiquities of Athens. A wealth of material on Hadrian’s architectural and infrastructure works which benefited Athens during Roman rule is on display.
* Adriano, preservare le memorie – Hadrian’s Villa in 3D – from 21st June to 15th September 2018 at the Museo civico di Tivoli (Italy)
The exhibition presents 3D reconstructions of monuments of Hadrian’ Villa and a video-mapping exhibition focusing on the figure of Hadrian, as well as archaeological finds including heads from the Antiquarium of Villa Adriana representing the emperor Hadrian, his wife Sabina and Antinous, the young slave loved by the emperor.
- La Villa di Adriano in 3D, la mostra “spaziale” a Tivoli
- Nuova mostra al Museo civico: Adriano preservare la memoria
- Adriano, preservare le memorie. Una mostra a Tivoli sulle tecnologie per la salvaguardia e fruizione
* Portraits en bronze de l’empereur Hadrien – from 27th June to 24th September 2018 at the Louvre Museum (Paris, France)
* Antinous: boy made god – from 25 September 2018 to 24 February 2019 at the Ashmolean Museum (Oxford, UK)
Antinous: Boy Made God is an exhibition at the Ashmolean Museum that centres around one of the most important surviving portraits of Antinous, an inscribed bust from Syria found in 1879 and currently in a private collection. The piece is basically unpublished and will be presented for the first time to the wider public in the exhibition catalogue. Other key portraits, as well as coins of Antinous, medals and bronze figurines, feature here and help contextualize the image of this country boy who was greatly loved by Emperor Hadrian and became a hero and a god within the Empire.
The exhibition and the book’s narrative highlight the range and variety of Antinous’ reception and shows how the fascination and reach of his image went well beyond antiquity into the modern world. It reconstructs a visual biography of an extraordinarily fascinating figure, representing an ideal of perfect beauty for many centuries after his tragic death. The book makes available for the first time a body of unpublished art-works, presenting them in their historical and archaeological context