Review: Beyond the Acropolis: New Installations of Greek Antiquities in Athenian Museums Author(s): NASSOS PAPALEXANDROU Review by: NASSOS PAPALEXANDROU Source: American Journal of Archaeology, Vol. 114, No. 3 (July 2010), pp. 549-556 Published by: Archaeological Institute of America Stable URL: http://www.jstor.org/stable/25684294 Accessed: 09-06-2015 18:29 UTC

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Beyond the Acropolis: New Installations of Greek Antiquities in Athenian Museums

NASSOS PAPALEXANDROU*

New Installations of Greek and Cypriot An Leon and Melite: Daily Life inAncient , in the color tiquities National Archaeological by Marina Plati and Eleni Markou. Pp. 28, Museum of Athens, Opened i March 2009, figs. 60. Museum of Educational Pro Athens 9. curated by Nikos Kaltsas and Elissavet Stasin grams. Museum of Cycladic Art, 2009. opoulou (general oversight), Evangelos Vivliode ISBN 978-960-7064-82-0 (cloth). tis and Christina Avronidaki (Greek terracottas, The epoch-making inauguration of the New Acropolis terracottas), Kawadias and events Myrina Georgios Museum has overshadowed important museological Anastasia Gadolou Elissa as of (Vlastos Collection), in Athens and throughout . Even the attention and is the vet Stasinopoulou and Eleni Zosi (Greekjewelry experts laymen monopolized by Acropolis glories in their new home, other museums have worked and silver vessels), Elissavet and effectively Stasinopoulou toward or their collections. New Eleni Kon modernizing expanding Christina Avronidaki vessels), museums (glass and refurbished regional collections offer alter Eleni Eleni stantinidi, Papazoglou-Manioudaki, native models for creative engagements with Greek antiq in Kourinou, and Despoina Kalesopoulou (Cypriot uities.1 Pride of place these fascinating developments, however, should be to the National Collection). given Archaeological Museum and the N.P. Goulandris Foundation Museum of Art in Athens. The former has seven Reinstallations of Greek in the Cycladic inaugurated Antiquities new never luminous galleries of impressive artifacts displayed N.P. Goulandris Foundation Museum of Cy a new on before. The latter offers multisensory installation cladic Athens. Ancient : A a new Art, ancient daily life alongside radically presentation of History in Images, Opened 1 August 2009, its classical antiquities. Nikolas Scenes From curated by Papadimitriou; national archaeological museum of athens Daily Life in Opened 1November Antiquity, new are The National Archaeological Museum's galleries curated Nikolas and 2008, by Stampolidis Yorgos located in the space occupied by the Numismatic Museum on a Tassoulas. of Greece from 1946 to 1998 the second floor of wing to added in the 1930s the east side of the original neoclassi museum Ancient Cypriot Art in the National Ar cal building of 1889 by Ernst Ziller.2 The variegated nature of the exhibited artifacts and the need to tie their chaeological Museum of Athens, Vassos by museum display harmoniously to the rest of the determined color 151. A.G. Lev Karageorghis. Pp. 151, figs. new the style and method of presentation in the galleries. entis Foundation and National Archaeological Their addition underscores the convoluted circumstances of Museum, Athens 2003. 32. ISBN 960-7037-41-3 the museum's shaping and its unique trajectory in history.3 The of these new in March 2009 (cloth). inauguration galleries concluded the ambitious project of installation begun after World War II. In recent years, the museum has witnessed Scenes from Daily Life in Antiquity, edited by the radical refurbishment and of all its Nikolas and Tassoulas. reconceptualization Stampolidis Yorgos Pp. 28, to galleries. Those dedicated Roman , Egyptian color DVD 1. Museum of figs. 75, Cycladic Art, antiquities, and the Stathatos Collection made valuable and Athens 2008. 9 (cloth). unique possessions public for the first time. To this day, the

* heartfelt thanks to My go Christina Avronidaki, Evange roneia Archaeological Museum (reinstalled). 2 los Alexandra Beth Gior The current Vivliodetis, Christopoulou, Cohen, Numismatic Museum's home is the elegant gos Kawadias, Marina Plati, Nikolas Papademetriou, Nikolas Iliou Melathron, 's neoclassical resi Elissavet Stampolidis, Stasinopoulou, and Yorgos Tassoulas. dence (1878-1889) by Ziller in downtown Athens. 3 New Museum of Chai see !E.g., Archaeological (new); For early history, Karouzou 1968, xi-xx. 549 AmericanJournal ofArchaeology 114 (2010) 549-56

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nature are an ca. of the museum's displays?an artifact itself worthy of welcomed by archaic polos goddess of 550 B.C.E. never an study (if not preservation)?has veered far from the from Tanagra (NM 4009)5?a plank with uncanny gaze. a programmatic intentions of its original curators, Christos She shares the company of proud rider, also from Tanagra Karouzos (1942-1964) and Semni Karouzou (1933-1964). (NM 4017) and a colorfulquadriga (NM 4082). Also in the a museum are some This is essentially of Greek art, mostly conceived limelight here impressive protomes of gods and art in neat categories of historical and archaeological clas goddesses from the sixth and fifth centuries B.C.E., many to cen sification (e.g., sculpture, , bronzes), presented in elegant Tanagra maidens from the fourth the second even a ca. a evolutionary trajectories of regional schools and workshops. turies B.C.E., and child of 300 B.C.E. holding The term "archaeological" in the museum's title refers to comic mask (NM 4679). Greek mythical narrative is exempli a the time span of pagan antiquity rather than the methods, fied by group of Melian reliefs from the early fifth century processes, and contexts of "archaeological" retrieval. The B.C.E. Finally, three diachronic thematic units?"Daily life," museum a thus provides panorama of Greek antiquity by "The Art of Muses," and "The World of Children"?provide art as an of a foil to the displaying intellectual creative phenomenon pe welcome regional groupings. or next rennial value, which must be studied in terms of external The gallery contains the delightful Ioannis Misthos an terracottas internal qualities that sharpen vision and understanding Collection of Hellenistic from Myrina and of of the human condition. Karouzos and Karouzou strongly terracottas illustrating "Comedy inAncient Greece" (fig. 1). dominate as believed in the pedagogical value of this conception of the Humor, gender, and Eros here nowhere else museum more to of the art and, importantly, in its capacity improve inAthens. The superb quality and typological variety new terracottas a world to life. Co social life and culture.4 The galleries complement the Myrina bring vibrant, joyful women and National Archaeological Museum's narrative inways hitherto quettish embracing, gossiping, cajoling, flirting, museums share the of unparalleled in other in Greece. lovemaking company Aphrodite, flying victories, new and assorted theatri Access to the galleries is through the gallery of Attic frolicking Erotes, sexy dancing youths, a vases of the fourth century B.C.E. First, visitors enter small cal characters. Splendidly highlighted in the middle of the two cases fine of Hel room is a terracotta statue of Eros Bound gallery with only displaying specimens chubby (NM 5080) ca. B.C.E. Next to a virtuosic of a and a lenistic pottery, most notably Hadra vases, West Slope Ware, of 100 it, group girl are Gnathia Ware, and Megarian bowls, which primarily do weightlessNike playing ephedrismos(piggyback) (NM 5083) The of teases The twowall nations and purchases by collectors. gallery Cypriot spectators. panels give only basic, diagram on on the visitors enter matic information. We learn that Misthos donated the collec antiquities is the left, and, right, a terracottas tion to the museum in after the of long sequence of galleries containing Greek 1884, shortly necropoleis had excavated French The (two rooms), the Vlastos-Serpieris Collection (two rooms), Myrina been by archaeologists.6 and an in breadth of the Who the larger hall of Greek jewelry and silver vessels, material, however, generates questions: room was Misthos? How did he obtain so How did timate of glass vessels. many examples? are visitors' the French mission's excavations? All the galleries elegantly simple, directing they escape artifacts. The The two tribute to the astute en attention to their mind-boggling plethora of following galleries pay a Vlastos' National Archaeological Museum has always been reposi trepreneur Gregory (1874-1936) collecting habit, were its social and his attitude.7 His col tory of materials that excavated legally, confiscated from milieu, scholarly unique or donated. Most of lection is here for the first time 452 clandestine operations, purchased, the represented by objects lit cas of Numerous Tarantine in artifacts in these galleries occupy spacious, internally (out 760). antiquities?unusual es that hide the walls; additional cases in the middle of the a Greek museum?acknowledge the artistic output of South attention. The am Italian Hellenism and Vlastos' own in the space highlight objects worthy of special expertise coinage not of Taras. The rewards scholars in unantici bient artificial light is generally intense but overbearing. display visiting wall texts A of a terracotta relief from Numerous graphs, maps, and encyclopedic supply pated ways. fragment plaque are with a male of the seventh B.C.E. visitors with basic information. The object labels generally figure century (case 4, troves no. is close to a but much better laconic, but at times they contain treasure of informa 7, BI667) strikingly similar, are Greek and in the Greek terracottas tion. All texts given in both modern English. preserved, plaque gallery nearby (case a on Titled "AWorld inMiniature," the first room of terracot 2, no. 14, NM 10180). And similar plaque is displayed the a in Greek art. second floor of the Museum of Art.8 The fortuitous tas is copiously illustrated primer coroplastic Cycladic coexistence of related in two Athenian museums Attica, Corinth, East Greece, various Peloponnesian work examples are all here with numerous Do these come from shops, and Crete represented generates questions. objects originally to the first centu the same source? Were made from the same mold? What characteristic types dating from the ninth they this networks of circulation account for their in three ries B.C.E. A study collection requiring repeated visits, surfacing well be a Boeotian room with ma different collections? How is this? gallery might considered private typical Displays to set off like these show that museums and collectors alike terials from other workshops the versatility, color, managed into the visitors to reverse the mess inflicted clandestine excavations. and ingenuity of this region. Walking gallery, by

6 4Schefold 1969; Karouzos 1981,137-39; see also Karouzou Pottier and Reinach 1887. 7 the Vlastos' collection has been in the National Museum since (1968, xviii-xix) for her guiding principle in sculpture installation. On Karouzou, see Nikolaidou and Kokkinidou 1988. On Vlastos, see Maragou 2001,14n. 11. 1998,237-44. 8Maragou 2001, 26, fig. 28. 5 NM=National Archaeological Museum inventory number.

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terracottas Fig. 1. Installation view of the gallery containing the loannis Misthos Collection of Hellenistic from Myrina terracottas and of illustrating ancient Greek comedy (courtesy National Archaeological Museum of Athens; ? Hellenic Ministry of Culture-Archaeological Receipts Fund).

Salvaging clandestinely excavated antiquities was, after all, within the museum, including identification, conservation, one as even cases of the main objectives of many collectors, ismade ap and authentication in of artifacts unearthed and cases parent by the prominently displayed documents, correspon circulated illegally. Here, sleek black contain jewelry a same dence, and photographs in this installation, which open often found in the burial with luxurious silver vessels. onto fascinating portal Vlastos' serious preoccupation with The glittering presentation celebrates Greek goldsmiths' an ventures a antiquities. A letter of 25 May 1935 signed by Vlastos daring in miniaturization; tiny gold griffin of nounces the creation of the Society of Friends of the Muse the fifth century B.C.E. (NM 7257) from the Acropolis, for save treasures a um, "to for Greece the priceless of its ancient example, is masterpiece in filigree. This installation also too are civilization which all often secretly exported from illustrates changes in style, experiments in combinations of the country." This exhibition also emphasizes that under his materials, and the popularity of certain themes. For example, numerous a a leadership, the society purchased ancient objects. gold earring preserving pearls and kithara-playing Eros at a can a ca. comes Finally, computer station, visitors leaf through (NM Xp 15113) of 100 B.C.E. from the first under notes a water digital version of Vlastos' extensive and drawings for excavation of the Antikythera shipwreck in 1901. Next a more same CVA fascicle of his collection that never materialized. to it is recent find from the context?a pair of a trea The hall of gold jewelry and silver vessels is veritable earrings with Erotes holding folding mirrors (NM Xp 1579). are numerous sury (fig. 2). In the introductory case, well-coordinated texts, There pieces of less-substantial jewelry from graphs, and pieces of jewelry illustrate the goldsmith's craft. the third to the first centuries B.C.E., which functioned only a as us The rest of the exhibition conjures up diachronic survey funeral costume. Other displays introduce to individu as was of jewelry from the ninth century B.C.E. to the fifth century als such Philotera, daughter of Amymone, who buried on re CE.9 The method of presentation focuses impressive in the third century CE. outside Athens' Dipylon Gate. Her exca was constituted assemblages of jewelry found in controlled marble sarcophagus discovered in 1874. We know her name vations from the middle of the 19th century onward. These because her elaborate openwork gold bracelet spells it are a out was assemblages the fruit of painstaking process of retrieval in elegant letters (NM Xp 71). She buried bedecked

9 a at Except for the exquisite figural ivories of funeral couch from the Tomb of the Palmettes Lefkadia, Macedonia.

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~ '*** UlwRV mi ~^-^H

2. Installation view of the of Greek and silver vessels Fig. gallery jewelry (courtesy National Archaeological Museum of ? Hellenic of Athens; Ministry Culture-Archaeological Receipts Fund).

in a of a bronze of terracotta at at pair gold polyhedral earrings (NM Xp 78), semblage votives the sanctuary Hagia Irini, coin sheathed in gold (NM Xp 200), and two gold armbands now in the Medelhavsmuseet, Stockholm, embellishes the studded with sealstones north wall.11 This an engraved (NM Xp 4-5). gallery's provides appropriate backdrop The of the National Museum's for seven cases amplitude Archaeological glass containing characteristic examples of their and are installations, documentary force, their beauty Cypriot coroplastic art, which range in date from ca. 1900 to also manifest in the "Glass Vessels" ca. gallery. While the wall 400 B.C.E. and include nude female figures, either hold texts and illustrations of manufacture are detailed or a glass and ing their breasts clasping hands, and chorus of tambou visitors most the rine On the vases informative, appreciate stupendous quality players. other side of the gallery, first-rate and state of of the vessels on All the illustrate a preservation display. Cypriot pottery in colorful trajectory that takes are into account major glass-making techniques exemplified here with the role of Cyprus inMediterranean commerce, of them from contexts. cases exquisite specimens, many excavated especially copper trade. Central offer graceful examples Viewers marvel at a textured of finely bluish-green bowl (NM Cypriot limestone sculpture from the sixth century B.C.E. discovered intact in the or to ca. 100 C.E. 23712) Antikythera shipwreck Smiling worshipers, korai, kourotrophoi two imitation vases from a can transparent agate second-century (mothers holding infants), and temple boys be appreci B.C.E. grave atPalaikastro, Thessaly (NM 14261, NM 14262a). ated vis-a-vis sculpture from Greece elsewhere in the museum. A cast bowl from with transparent Siphnos engraved Erotes Two standing figures with exaggerated, tall bodies demon mounted on sea monsters of ca. 100 strate the merrily (NM 16275) charming otherness of Cypriot visual culture. B.C.E. is another delight of this gallery's display. N.P. GOULANDRIS FOUNDATION MUSEUM OF The generous sponsorship of the A.G. Leventis Founda tion is CYCLADIC ART evident in the sun-drenched gallery of Cypriot an 3).10 The here is commensurate tiquities (fig. presentation Since its opening in 1986, the Museum of Cycladic Art with that in other but the wall texts are more has been at the of galleries, richly forefront interweaving aesthetically flaw illustrated and are two interactive supplemented by computer less exhibitions and didactic programs for diverse audiences. screens. A mural of the famous as Housed in a 1985 modernist magnificent photograph white marble and glass building

10 It includes 180 artifacts out of see 850. For history, Kara nWindbladh 2003. georghis 2003,12-14.

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3. Installation view of the A.G. Leventis Foundation of Fig. gallery Cypriot antiquities (courtesy National Archaeological Museum of Athens; ? Hellenic Ministry of Culture-Archaeological Receipts Fund).

museum on inAthens' chic Kolonaki district, the museum is famous for emphasis of this didactic content and educa its tional collection of Cycladic sculpture, the original programs. Since the 1980s, the Educational Depart core of was ment has a of which salvaged from illegal export by the spirited implemented series sophisticated programs collector Dolly N. Goulandris (1921-2008) in the 1960s and that target students 10-13 years of age. This involves the use of a 1970s.12 The exemplary display of the famous figurines from special educators and prescribed agenda of action, are the 1980s still holds up well. during which the students led to discover by themselves Equally important is the museum's diverse collection of qualities, functions, and relations of objects to people and This senses classical antiquities,13 which has grown considerably, since places. experience sharpens their and natural its in the izes to museum shaping 1960s, from donations, loans, and pur young learners the space.17 chases N.P. The new to by the Goulandris Foundation.14 Through the installations, moreover, dojustice the breadth to acquisition of various important collections, including those and quality of the museum's collection. In addition didactic of Lambros Eutaxias and Karolos Politis, the museum has content, major determinants in their design have been the added to DNA nature of available its important strands of the socially and cul space and the museum's programmatic on content. turally complex history of modern Greek collecting.15 Most emphasis didactic The museum's L-shaped floor of the collection consists of pottery, which ranges in date plans facilitate intimate settings in which displayed objects from to are in constant one Mycenaean Hellenistic times, though Attic black dialogue with another. vases new figure and red-figure of the sixth and fifth centuries : A History in Images, the installation B.C.E. on woven a predominate.10 the second floor, is around the idea of pictorial Both of the Museum of Cycladic Art's newly reinstalled journey through time and space, with major thematic stops cater to re floors wide audiences. A primary motivating force and highlights. Its colorful and playful physical layout minds me behind their conception and organization is the traditional of the Mediterranean, with its large islands, straits,

recent 12Doumas 1968; Doumas and Maragou 1978. For 15Maragou 2001, 18-32. For the Politis Collection, see Pa see acquisitions, Maragou 2001,18-32. padopoulou-Kanellopoulou 1989. 13Doumas and Maragou 1978,147-334; Maragou 1996. 16Maragou 1996; Papadopoulou-Kanellopoulou 1989. 17 14Maragou 1996,18; 2001,18-32. On method, see Plati 2007; Plati and Markou 2009.

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for promontories, hidden coves, and "harbors you're seeing can the first time."18 One navigate around the shores, but no cases trajectory ismandatory. The "islands"?here, in the middle of the gallery?are obliquely positioned, enlivening the space and facilitating juxtapositions and comparisons: or they invite deviation, disrupting redirecting the flow and interaction of visitors with the images. The installation is articulated in clearly distinct units and subunits with the spatial transitions bounded by unobtrusive glass dividers, whose visuals, such as a satyr's head for "," discretely beckon the visitor. on one was Alighting of the islands, I pleasantly surprised a to encounter wonderfully preserved Cretan shield of the in and em early eighth century B.C.E. hammered bronze a sensuous amid bossed with the representation of Potnia a beasts.19 Like the island of Crete, this shield occupies stra vases tegic link between the austerity of Attic Late Geometric new of the from the eighth century B.C.E. and the horizons Archaic period in the seventh and sixth centuries. Invitingly labeled "The Birth of the Figure," the Geometric "island" no itself introduces the first images in Athenian tradition, roar tably centaurs, horses, chariots, and the lions that from a the bottom of small cup.20 Around these islands, the walls are lined with embedded cases as or in soothing colors, such pale green gray, that never compete with the exhibited artifacts. Each individu a to ally lit object is easily visible and has unique story tell. A case one to in nook is devoted citizen hoplites of the Greek are set on city-state (fig. 4). Here, three Corinthian helmets an swordlike props against earthy red background that evokes death and the somber mood of war. The wide frame of this case is printed with the phalanx from the proto-Corinthian a In 4. View of the showcase and Citizens" in the Chigi vase, visual prop that contextualizes the helmets. Fig. "Hoplites second-floor reinstallation Ancient Greek Art: A in Im adjacent cases, the escapist merriment of Dionysiac dancers History on a an un ? N.P. Goulandris Foundation-Museum black-figure lekythos and the prancing komasts of ages (C. Akriviadis; contrasts of forgettable Corinthian krater inspire and tension.21 Cycladic Art). an In "island cove" exploring "Daemons and Monsters," the on a visual prop of the ketos famous Caeretan hydria invites case scrutiny of fabulous creatures from in the above on a on an a a a case from the wall it: sphinxes black-figure lekanis, sirens aryballos, At crucial juncture, glass projects a terracotta a to of terracotta centaur with heavy genitals, and ithy like promontory introduce the theme "Expression" a on in It showcases a miniscule female head phallic Silenos with pet monkey his shoulder.22 Hellenistic culture. are a terracotta as The labels succinct, but there is plenty of background of figurine, whose charming smile is radiant on text cases. as marble statue of a in the Hel information panels, both inside and outside the that of the much larger boy cases core cove same case as the Prominent thematic labels of units and signal the lenistic octagonal nearby.23 In the figu ideas that motivate the installation so that visitors always know rine, an artfully crafted bronze askos of the second century are at. a The exactly what they looking For example, "Nature" is the B.C.E. has handle animated by minute animal heads.24 cases of the terracotta head and the bronze overarching framework for exploring the labeled "Art calculated symbiosis a on constant of Hellenistic and Minoan Religion" and "Trade and Daily Life" that deal askos is riff the preoccupation art and with Bronze Age phenomena. In the classical section, "Bal with dramatic juxtaposition surprise. of ancient Greek art ance" is the guiding theme for studying aspects of ancient The culmination of the installation as an life and its images, such the "Economic Basis of Democ is attractive interactive section titled "How Were They a racy" and "Theater and Dionysiac Cult." Made? Technologies of Fire." This unit takes the form of

18 22 see Niarchos inv. no. A 061 For Cavafy's Ithaca, Savidis 1975, 35. Visual prop: Collection, (hydria 19 no. to ca. lekanis: On loan from the Rethymnon Museum, inv. M 2803. attributed the Eagle Painter, 530-520 B.C.E.); nos. no. centaur: 2,)Papadopoulou-Kanellopoulou 1989, 43-50, 19, 23 Maragou 1996, 92, 126; Papadopoulou-Kanel a a come no. Silenos: 5. An oinochoe, lidded pyxis, and pitcher, in this case, lopoulou 1989, 107, 55; Papadopoulou-Kanello no. 69. from the Chatzidimos Collection (Maragou 2001, 25-6). pouloul989,119, 23 21 see no. no. For the lekythos, Maragou 1996, 83, 120. For the Maragou 1996,181, 288. 24 no. krater, see Maragou 2001, 46. Maragou 1996,172, 271.

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stations treat nite of and stepped wall articulated by five that prominent comparisons scales, shapes, functions, images.26 on The are it for viewers to categories of objects display in the gallery: clay vases, clay objects real, and is easy play along vases. The in to life as well. This invites us to figurines, bronze objects, gold jewelry, and glass bringing the boy scenario station for each class of object contains text and graphics meet and empathize with Leon and his world. Inversely, it on a screen our contrasts the wall, digital for video, rotating panels, and brings Leon into world, inviting and unavoid a even drawers full of surprises. The stations offer rich and playful able, sometimes painful, comparisons. menu nuts of options for discovering step-by-step the and This dialogic process is also facilitated by comic-strip friezes bolts of arts and crafts in antiquity. Here, visitors, especially and object labels that provide visual and verbal commentary are on children, free to give vent to the tactile urge that usually in Greek and English the functions of exhibited objects a museum is repressed in setting. This engaging tool prompts and the aspects of life thatmade them necessary. With humor on a as reflection the role of all artworks in society's economy and subtlety, they visualize gods and people such athletes, on and the messiness of life?the sweat, dirt, and toil of free slaves, musicians, politicians, and prostitutes in everyday situ a scene a persons and slaves alike. ations. In with lebes gamikos (a cauldron-shaped set are to sex. An altogether different of challenges and rewards, wedding vase), newlyweds ready engage in Else to see sex men or both cognitive and emotional, await the visitor Scenes from where, visitors symposiasts?no between be on This new tween men Daily Life in Antiquity the fourth floor (fig. 5). and boys is shown?joyfully playing kottabos by a at installation actualizes synchronic view of the everyday. flirtatiously aiming the dregs of wine in their cups their a we see re Here, antiquity has been treated with sensitivity informed peers. In the Athenian case, and hear the a by studied avoidance of simplification, qualities also evi sounding banter between sellers and buyers. These tasteful to dent in the slim but richly illustrated educational guide for strips spur viewers engage fully their creative imaginations. this installation.25 Younger visitors will enjoy them the most. the visitor faces in the title us to Upon entering, Dionysos pan Appropriately used special effects encourage suspend an the el, inviting enlargement of famous tondo inside the contemporary subjectivities. Ceiling gobo lights project im Munich Exekias with the vases on cup by god reclining majestically ages from the gallery's dark floor?for example, on a whose mast vines. This en one is a an ship sprouts visual epigraph symposiast and aulos player in front of the sym the in a capsulates overarching theme?a journey which the posium station. Past the six stations about Leon, small of life is never far from and a vibrancy away death the beyond. theater shows in continuous projection short video that Two "Gods and Heroes" and "On the introductory displays, offers evocative glimpses into Leon's life from his birth to of lead to six "stations" that of in Wings Eros," explore aspects his demise battle. Its musical score, punctuated by tones female and "Women's Activi of the gender ("Toiletry Wedding," syrinx and the aulos, is redolent of the soundscape ties"), the construction of masculinity ("Athletics"), all-male of Leon's distant world. social life and civic life and is (""), ("Warfare" Leon's death heart wrenching but necessary, considering "Athenian The thread here is a fiction measure Agora"). organizing that antiquity has always been idealized beyond in al character named a handsome Athenian Greece. And museums Leon, citizen, Greek have provided cold academic whose the constructs of the have never biography typifies roles, constraints, obligations, past that engaged the pub and of a member of the middle class in the fifth This installation joys living lic.27 consciously goes against that grain. B.C.E. The a cove century itinerary climaxes in hidden dark that explores The fourth-floor is a mixed-media installation in Care the a display "Taking of Dead." Here, shorter video picks up hues of black and red. At its core is a the action after panoramic assemblage Leon's death. Visitors participate in his fu of 175 ancient artifacts shown life-sized which is shot in tones against photographic neral, dark that evoke the tragedy of views of Leon and his and These actors death. Visitors watch women family, friends, peers. the prothesis with lamenting, in front of of constant elements the perform stylized backdrops ekphora, the cremation of his body, and the burial of his in their lives. This clever works both the ashes in a on a contraption ways: bronze hydria. A funeral stele low stepped two-dimensional of the main blend with base is images protagonists visited by the female relatives who bring flowers and the three-dimensional artifacts and vice versa. In "Women's offerings, perform libations, and lovingly anoint itwith oil. Activities" for we see Leon's mother The scene zooms on example, feeding baby final in the stele, then lights go down, Leon with a real terracotta feeder a and the still black-glazed against dissolves into itsmaterialized replica inside the to photographic backdrop of teased wool ready be spun by museum. Leon's bronze urn is visible below in a simulated her and other female members of the household. Toys in grave shown in cross-section. Leon's fictional monument the same such as knucklebones and dolls with mov turns into a silent us to on display, still, life, allowing reflect the eight illustrate activities of children. A modern humble on ing limbs, daily lekythoi the steps.28 In this context, these offer of a and real the become replica loomweight spindlewhorls suggest ings meaningful funerary gestures. Context here main domestic of women. In the not as a preoccupation symposium emerges only physical and spatial category but also a nude slave a a case, boy pours wine from bronze jug into as an essential dimension of behavior. Leon was treated with bronze in front of a fine krater attributed to and all kylix red-figure propriety due respect. These reenactments urge visi the Painter of ca. Gottingen 500-490 B.C.E., suggesting infi tors to rethink Leon's life vis-a-vis the artifacts in this instal

25 Stampolidis and Tassoulas 2008. 27Damaskos and Plantzos 2008. 28 no. and a 26Jug:Maragou 1996, 167, 263; kylix: Stampolidis E.g., white-ground lekythos of ca. 460-450 B.C.E., at Tassoulas s.v. inv. no. to 2008, "Symposium" (Politis Collection, tributed the Tymbos Painter. krater: and Tassoulas s.v. 35); Stampolidis 2008, "Symposium."

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Fig. 5. View of the fourth-floor reinstallation Scenes from Daily Life inAntiquity (G. Fafalis; ? N.P. Goulandris Foundation Museum of Cycladic Art).

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