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Events in Art and Archaeology

Feeding the Empire: Tales of Food from Rome and Pompei
ROME  •  Ara Pacis  •  2 July - 15 November 2015

What and how did the ancient Romans eat? How did they carry hundreds of tons of provisions from the world’s most remote corners? How could they transport them from the Tiber river to the heart of the city? And how could they store them throughout the year? The answer lies in an exhibition of rare archaeological artifacts entitled Nutrire l’Impero. Storie di alimentazione da Roma a Pompei currently on view at the Museo dell'Ara Pacis in Rome.

After the Pax Romana, the globalisation of consumer goods took off throughout the Mediterranean basin due to the “delocalisation of production” of raw materials. During the Imperial era the Romans drank wine made in Gallia, Crete and Cyprus. Wealthy Romans drank the expensive wines from Campania; they used oil shipped by sea from Andalusia; they loved greek honey and especially the garum, a sauce imported from Africa, the eastern mediterranean, Portugal, and also from nearby Pompei. Romans especially loved their bread made with grain transported on big boats form Africa and Egypt.

In addition to food supply and its transport the exhibition attempts to convey the “massive distribution” and food consumption among the different social classes in two symobolic places: Rome, the largest and most overcrowded ancient town, and the Vesuvius area, with particular attention to Pompei, Ercolanum and Oplontis.

Museo dell'Ara Pacis Website

Contact: Museo dell'Ara Pacis
Lungotevere in Augusta
(angolo via Tomacelli)
00186 Roma
Tel: (39) 06 06 08

<EM>Farnese HerculesPortable Classic</EM>Fondazione Prada Venice
Farnese Hercules
Portable Classic
Fondazione Prada Venice
Portable Classic
VENICE  •  Fondazione Prada  •  9 May - 13 September 2015
The exhibition Portable Classic explores the origins and functions of miniature reproductions of classical sculptures, showcasing more than 90 artworks. Both in ancient Rome and modern Europe a true ‘canon’ of sculptures was created, considered as an undisputed peak of excellence of a given subject. Their prestige was so high that, since it was almost impossible to acquire the originals, their reproductions, even on a small scale, were eagerly sought for by well-read audiences. An example of this is the Farnese Hercules, exhibited in a series of smaller-scale reproductions—measuring 20 to 150 cm—in marble, bronze and terracotta. Some classical small-scale masterpieces are presented along with Renaissance multiples, through the examples of the Ignudo della Paura and the Bathing Venus. Another section of the exhibition is devoted to important art collectors from the 1500’s. In a selection of paintings by Lorenzo Lotto, Tintoretto and Bernardino Licinio, the subjects are portrayed among classical sculptures and plaster casts from their personal collections. Starting from the emblematic cases of the Belvedere Torso and the Laocoön, the exhibition illustrates how Renaissance artists employed small-scale copies to elaborate hypotheses on the missing portions of the classical originals.

Fondazione Prada Website

Contact: Fondazione Prada
Ca’ Corner della Regina
Santa Croce 2215
30135 Venezia

Tel: (39) 41 810 91 61

<EM>Crouching Venus</EM>
Crouching Venus
Serial Classic
MILAN  •  Fondazione Prada  •  9 May - 24 August 2015
Curated by Salvatore Settis, in collaboration with Anna Anguissola and Davide Gasparotto, the Fondazione Prada’s new Milan venue presents Serial Classic an exhibition that focuses on classical sculpture and explores the ambivalent relationship between originality and imitation in Roman culture and its insistence on the circulation of multiples as an homage to Greek art. We tend to associate the idea of classical to that of uniqueness, but in no other period of western art history the creation of copies from great masterpieces of the past has been as important as in late Republican Rome and throughout the Imperial age. The exhibition comprises more than 70 artworks and opens with an in-depth analysis of lost originals and their multiple copies, represented by two particularly renowned series such as the Diskobolos and the Crouching Venus. Two other important sections are devoted to the materials and the colours of classical bronzes and marbles. The Kassel Apollo, for instance, is presented in two recent plaster casts which reproduce the original bronze surface of the lost Greek original and the colours of its Roman marble copies. Another area in the exhibition illustrates the technologies and methods used in the making of the copies, presenting two essential moments such as the creation of the plaster cast and the translation of proportions and measurements on the new block of marble. Two famous series are also featured in the exhibition, the Penelope, and the Caryatides, on the prototype of the Athenian originals from the Erechtheion.

The new Milan venue of the Fondazione, conceived by architecture firm OMA—led by Rem Koolhaas— expands the repertoire of spatial typologies in which art can be exhibited and shared with the public. Articulated by an architectural configuration which combines preexisting buildings with three new structures, it is the result of the transformation of a former distillery dating back to the 1910’s. Located in Largo Isarco, in the South of Milan, the compound has a gross surface area of 19,000 m2/205,000 ft2, of which 11,000 m2/118,000 ft2 is dedicated as exhibition space.

Fondazione Prada Website


Fondazione Prada  Milano
Largo Isarco, 2
20139 Milano


Tel: (39) 2 5666 2611

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