Ahdaf Soueif, a Trustee of the British Museum since 2012, resigned a few days ago.This is the first time that a Trustee from the British Museum has resigned for moral and ethical reasons.

"Public cultural institutions have a responsibility: not only a professional one towards their work, but a moral one in the way they position themselves in relation to ethical and political questions. The world is caught up in battles over climate change, vicious and widening inequality, the residual heritage of colonialism, questions of democracy, citizenship and human rights. On all these issues the museum needs to take a clear ethical position." wrote Ahdaf SoueifAhdaf Soueif.

On twitter, we've been retweeting articles about this resignation with the hashtag #WednesdayWisdom, not because we wish to have another go at the British Museum but because we sincerely hope that Dame Jane Suzman's Cambridge debate address delivered with passion on 25 April,  will be heard again, especially when she said: 'the Parthenon Marbles can no longer be kept hostages of time in Room 18.' This was fueled by her visit to Athens ten days prior to attend a conference organised by the President of the Hellenic Republic, Prokopios Pavlopoulos, where he said how "miserable and completely unworthy of Britain's tradition is the attitude of the British Museum's officials today, who thus end up appearing inferior to the circumstances and the necessities pertaining to the defence of World Cultural Heritage and our common Civilisation and, furthermore are unrepentant accomplices of Elgin's cultural crime.” 

Ahdaf Soueif announced her resignation in an open letter published by the London Review of Books blog: ‘My resignation was not in protest at a single issue; it was a cumulative response to the museum’s immovability on issues of critical concern to the people who should be its core constituency: the young and the less privileged.’

Asked whether she thinks that the British Museum should be engaged in talks with Greece about returning the Parthenon Sculptures, Soueif told Yannis Andritsopoulos, London Correspondent of Ta Nea, Greece’s daily newspaper: “I believe it would be in everyone's interests for the Museum to engage in open, honest and transparent discussions with everyone who feels they have a claim on objects held by the Museum.”

Asked if she thinks that the Parthenon Sculptures should be returned to Greece, Soueif said she “cannot really comment more specifically,” but added that “these claims can only be dealt with on a case-by-case basis.”

BCRPM took part in the BP or not BP? protests with campaigner Danny Chivers, reading a statement from Dame Janet Suzman on Saturday 8 December 2018 in the Parthenon Gallery.

This was followed by 22 year old campaigner Petros Papadopuolos, a second year Cambridge student speaking in Room 18 during the BP or not BP?  'Stolen Goods Tour' of 04 May 2019.

Ahdaf Soueif raised her concerns with BP’s high-profile sponsorship of exhibitions at the museum: ‘It was an education for me how little it seems to trouble anyone – even now, with environmental activists bringing ever bigger and more creative protests into the museum.The public relations value that the museum gives to BP is unique, but the sum of money BP gives the museum is not unattainable elsewhere.’ she is quoted as saying in Frieze.

Just last week the Director of the British Museum Hartwig Fischer announced that the Museum will continue its relationship with BP.  From 21 November this year to 08 March 2020, BP will sponsor the museum’s upcoming exhibition “Troy, Myth and Reality”.

Soueif also raised her concern over the museum’s failure to respond to a report published in 2018, which recommended the full restitution of looted African artefacts. The report noted in that some 90% of African cultural heritage currently exists outside of the continent and is displayed in major Western museums. Economist Felwine Sarr and art historian Bénédicte Savoy were charged by Macron to develop a clear framework of what this restitution means, philosophically and politically, and what needs to be done.

In the resignation letter, Soueif goes on to cite the museum’s employment policies, which she says pushed workers into ‘economic precarity’ with its unwillingness to rehire workers following the bankruptcy of service provider Carillion in 2018. 

Dame Janet Suzman, Chair of the BCRPM salutes Ahdaf Soueif and hopes that her resignation will ensure a change of heart with the British Museum's Board of Trustees. "What Ahdaf Soueif has said and done, must not fall on deaf ears or be swept aside and ignored. The time for change is here."   

"As governments are never tired of reminding us, the responsibility for all decisions on the British Museum’s holdings lies with the Board of Trustees, as an independent body. We can only hope that a new Trustee can be found who is as principled and well-informed as Ahdaf Soueif." Professor Anthony Snodgrass, Hon President of BCRPM

Yannis Andritsopoulos, London Correspondent for Ta Nea, Greece's daily newspaper reporting on yesterday's peaceful protest at the British Museum.

The first-ever ‘protest concert’ held in the British Museum’s Duveen Gallery took place in London yesterday, Thursday 20 June 2019. This also marked the Acropolis Museum’s 10th anniversary with singer and songwriter Hellena performing her song for the reunification of the Parthenon Marbles.

This peaceful protest took place in the British Museum’s Parthenon Gallery. Hellena sang '‘The Parthenon Marbles (bring them back)', which she has written in support of the campaign for the return of the Parthenon Marbles. The song was performed, a capella, 10 times – once for every anniversary year of the Acropolis Museum.

“I wanted the Museum’s visitors to learn the truth and those who run the Museum to understand that there is no way we can stop asking for the Parthenon Marbles to be returned,” Hellena told Ta Nea, Greece’s daily newspaper. “I am very proud of this song, which fully reflects my beliefs and feelings, but also the feelings of millions of people all over the world.”

Hellena’s song was released yesterday, 20 June 2019, to coincide with the 10th anniversary of the opening of the Acropolis Museum – where she believes the marbles should be housed once they are returned to Greece. The song will be used by organisations around the world to “raise awareness of an injustice dating back over 200 years.”

The protest was held in collaboration with the British Committee for the Reunification of the Parthenon Marbles (BCRPM) and the International Organising Committee - Australia - for the Restitution of the Parthenon Marbles.

“Hellena is a beautiful and talented singer and songwriter, whose soul has connected to the plight of the surviving and fragmented Parthenon Marbles. A 200 years old request and yet for young people today, it is a new call, perhaps just 10 years old, the anniversary of the superlative Acropolis Museum,” Marlen Godwin, BCRPM’s spokesperson, told Ta Nea.

“For all generations the art of music brings hope and it is hope that will keep this cause alive forever. We thank Hellena for her song and look to the day when music may change the plight of these sculptures for millions to appreciate what the ancients hoped we’d understand and what one, very special museum can do to show respect for an equally special museum, a home to a Parthenon Gallery where this peerless collection is exhibited the right way around, in context and with views to the Parthenon, which still stands. As generation Z look to visit museums for physical spaces they can invest in, communities they can engage with and belong to, it is time for the British Museum to look for other exemplars for Room 18 and allow the sculptures from the Parthenon still in London to re-join their halves in Athens,” she added.

On 7 June 1816, British Parliament voted to purchase from Lord Elgin his collection of sculpted marbles from the Parthenon and elsewhere on the Acropolis of Athens. Despite repeated requests from Greece and elsewhere to find a way to reunite them, these have remained in the British Museum.

On 20 June 2009, the Acropolis Museum in Athens was opened to the public. Since it opened it has welcomed over 14 million visitors from all over the world. The missing sculptures, those still in the UK, are exhibited as casts.

This news report was published in Ta Nea, Greece’s daily newspaper (www.tanea.gr) on 21 June 2019 and to read the Greek version of this article, please click here.

To hear Hellena's song, click here.

20 June 2019

The New Acropolis Museum was officially inaugurated on 20 June 2009 and celebrates this year 10 tremendous years of successful activity. It has grown to be one of the best museums in the world and has received over 14.5 million of visitors. Between 13 and 20 of June the Museum has organised a series of festivities to commemorate its anniversary, with as a major event – on June 20 – the opening of the archaeological excavation underneath the museum. The architectural remains of Late Antiquity (4^th-7^th century AD) excavated during the construction of the museum give an unrivalled insight into the everyday life of an ancient neighbourhood at the foot of the Acropolis. From 21 June 2019 , this new archaeological site will be open to the public.

The history of the New Acropolis Museum goes back to the 1970s. The museum built on the Acropolis itself, whose initially construction dates to the 19^th century, was by then outdated and could no longer cope adequately with the large number of visitors. Moreover, important restoration and conservation works carried out on the monuments of the Acropolis from 1975 on rendered the exhibition space in the old museum too small to accommodate the sculptures that were being taken down from the various Acropolis buildings to preserve and conserve them from the urban pollution.

In 1976, less than two years after the restoration of democracy in Greece, President Constantinos Karamanlis conceived plans for the construction of a new Acropolis Museum and selected the site upon which the Museum was finally built, located in the historic neighbourhood of Makryianni, a natural extension of the south slope of the Acropolis hill. Between 1976 and 2000, no fewer than four architectural competitions were conducted, before the award finally went to the project by design architects Bernard Tschumi, Michael Photiadis and their associates.

The New Acropolis Museum is a three-storey building facing the Acropolis, a transparent construction of structural concrete, stainless steel and marble, with liberal use of glass for the facades and part of the floor. It achieves an interplay between the museum, where the antiquities of all periods of the Acropolis are on display, floating over the in-site excavation, and panoramic views on the Acropolis and the city. The concept of the building is ingenious, divided over four levels: the ground floor of the Museum is suspended on pylons over the archaeological excavation; a gentle slope ending up in a monumental staircase connects the ground floor with the first floor; the top floor or Parthenon Gallery is arranged around an indoor court and rotates slightly so that its orientation corresponds exactly to the orientation of the nearby Parthenon temple. The concept of the Acropolis Museum can thus be seen as an evocation of the topography of the Acropolis in ancient times: a Sacred Way leads visitors from the city up the slope of the Acropolis hill, then up the steps towards and through the Propylaea to the Parthenon.

The display of the artefacts in the Museum strengthens this image. The ruins of part of the ancient city of Athens are situated on the lowest level. The finds excavated on the slopes of the Acropolis in secondary temples, shrines and caves, are on display on the ground floor, along the gentle sloping path. The numerous sculptures and architectural fragments – most of them unique treasures of art – found on the Acropolis, including parts of the Archaic temples, the Erechtheion, the temple of Athena Nike and the Propylaea, are presented on the first floor and can be viewed from all sides. The ambient natural light in the exhibition rooms, changing throughout the day, particularly suits the sculptures on display. The top floor is dedicated to the surviving Parthenon sculptures in Athens, completed with plaster casts of the sculptures actually on display in the British Museum in London. This juxtaposition of original parts with plaster copies underlines the call for the return of the originals in the British Museum. The display in Athens (unlike that in the BM’s Duveen Gallery) is exquisite, the sculptures can be seen exactly as they were placed on the Parthenon, but in a lowered position for the convenience of the visitor. The glass enclosure provides ideal light and enables direct view on the context of the original environment of the Parthenon Sculptures.

The New Acropolis Museum is a thematic archaeological museum, geographically limited to the finds of the Acropolis, the slopes of the hill and its monuments, chronologically limited to artefacts dating from the earliest period to Late Antiquity. It is a “living” museum, constantly in motion and constantly replenishing its exhibition with new finds, as a result of the ongoing archaeological research and the restoration works conducted in the area by members of the Greek Archaeological Service.

In just 10 years, the Acropolis Museum has grown into a leading world museum, with a highly scientific programme, a very competent restoration and conservation department, a strong cultural-museological management, and a suite of dynamic projects for the future. Therefore, one can only regret the more deeply that not all surviving parts of the Parthenon Sculptures – a number of them are dispersed in other museums and collections besides the British Museum – are today reunited in this beautiful museum.

The most important collection of Parthenon Sculptures abroad is actually on – poor – display in the British Museum in London. They were “taken” by the British diplomat Lord Elgin with a view to decorating his mansion in Scotland, at the beginning of the 19^th century, at a time when Greece was under Ottoman rule. In the process several were destroyed. Financial problems too meant that he had to sell the Sculptures, which finally were purchased from Lord Elgin by Act of the British Parliament and entrusted to the care of the Trustees of the British Museum. The young free Hellenic State began negotiations for the return of the Sculptures as early as 1842. A crucial turning point came in 1984 when Melina Mercouri, then Minister of Culture, made a formal request to the British Museum for the return of the Sculptures to Greece and simultaneously a request to UNESCO, which was immediately entered on the agenda of the Intergovernmental Committee on the Return of Cultural Goods to the Countries of Origin. The claim from Greek governmental side for the return of the Parthenon Sculptures is regularly repeated, without reference to legality, but the stance of the British Museum Director and Trustees – a harsh ‘no’, without even a willingness to enter into formal discussions – remains unchanged until today.

The reunification of the Parthenon Sculptures in the Acropolis Museum in Athens is not only a claim made by Greece. It is supported by International Cultural Organisations and by individuals worldwide. The International Association for the Reunification of the Parthenon Sculptures (IARPS), founded in 2005 and consisting of 20 national committees, spread over 18 countries, supports the claim for reunification, in close collaboration with the Greek authorities, who do not wish to engage in litigation at this moment, but prefer a policy of cultural diplomacy. A policy line that the IARPS respects. New approaches are therefore necessary to reach a breakthrough in the dispute. As the Parthenon Sculptures were made for and constitute an intrinsic part of the Parthenon temple on the Acropolis – an emblematic building, symbol of Western Democracy and recognised as a World Cultural Heritage, it is above all, a moral obligation to return and to reunify all the surviving Parthenon Sculptures in the Acropolis Museum, where they are in direct visual contact with the Parthenon temple. Only in this way they can continue satisfactorily to fulfil their mission: testimony of the great craftsmanship of the ancient sculptors in the 5^th century BC and a reminder of the origins of Democracy.

Dr Christiane Tytgat

Historian - Archaeologist

President International Association for the Reunification of the Parthenon Sculptures

President of the Belgian Committee for the Reunification of the Parthenon Sculptures

ACROPOLIS MUSEUM celebrates its 10th anniversary on Thursday, 20 June 2019

The Acropolis Museum celebrates 10 years of operation and throughout this period over 14.5 million local and international visitors have passed through its doors to enjoy the exhibits. The Museum publicly expresses its thanks to all of them. On the occasion of its ten years anniversary, the Museum invites visitors to the following key events:

Temporary exhibition ‘CHISEL AND MEMORY. The contribution of marble craftsmanship to the restoration of the Acropolis monuments’

11.06.2019 – 31.10.2019
Since opening its doors ten years ago, the Acropolis Museum has highlighted the close relationship between the sculptures it displays and the monuments from which they originate. It is with great pleasure that the Museum is hosting an exceptional exhibition of photographs of the marble craftsmen of the Acropolis at work. Imbued with a new curatorial spirit, the exhibition was initially organised by the Committee for the Conservation of the Acropolis Monuments and the Acropolis Restoration Service. The exhibition takes place in the ground floor Temporary Exhibition Gallery. Entrance will be free.

Lecture “The true colours of the Parthenon sculptures: evidence for traces of original polychromy and its interpretation”

Thursday, 13 June 2019, 7 p.m.

The Acropolis Museum will host a lecture of the Italian professor Giovanni Verri on the polychromy of the Parthenon sculptures, which has long been the subject of scholarly research and this debate has continued now for almost two centuries. Giovanni Verri is a Reader at the Courtauld Institute of Art, London. He holds a PhD in Physics from the University of Ferrara in Italy, and an MA in Conservation of Wall Paintings from the Courtauld Institute of Art in London. Throughout his career, he has endeavored to develop scientific techniques for the analysis of colour, in particular on Greek and Roman antiquities. The lecture will take place in the ground floor Auditorium and entrance will be free.

Music concert ‘Stavros Xarchakos – Instrumental’

Wednesday, 19 June 2019, 9 p.m.

The Acropolis Museum invites its visitors to a unique instrumental concert by the great Greek composer Stavros Xarchakos and an orchestra of eight renowned Greek soloists. Stavros Xarchakos and the orchestra will take visitors on a musical journey comprising familiar compositions of Stavros Xarchakos, Mikis Theodorakis, Vasilis Tsitsanis, Markos Vamvakaris and Manos Hadjidakis. On this day the Museum will extend its opening hours until midnight. Entrance will be free from 8 p.m. onwards.

10 Years Acropolis Museum Celebration

Thursday, 20 June 2019

On Thursday 20 June 2019, the Acropolis Museum’s birthday, entrance to the exhibition areas will be free from 8 a.m. until 8 p.m.

Friday, 21 June 2019

From Friday 21 June 2019 onwards, the archaeological excavation will be open to the public with the general admission fee ticket. The excavated area of 4,000 sq. meters comprises houses, workshops, baths and streets of an ancient Athenian neighborhood that existed from the classical to the byzantine years, in successive phases. This impressive archaeological site will soon be enriched with the most representative findings of the excavation. Architectural ruins will be organized in a unique exhibition set that sheds light on the everyday life of an ancient neighborhood that existed in the shadow of the Acropolis. On this day the Museum exhibition areas will be open from 8 a.m. to 10 p.m.

To read more on the Acropolis Museum's new exhibition space, check the article by Helna Smith in the Guardian.

 Yannis Andritsopoulos, London Correspondent for Ta Nea, Greece's daily newspaper visited the Tate Reading Rooms to see Kenneth Clark's original letter.

Kenneth Clark, a British art historian and Trustee of the British Museum, was in favour of the return of the Parthenon Marbles to Greece in the 1940s, it can be revealed.

Ta Nea, Greece’s daily newspaper, has seen and photographed a letter written by Clark in which he states explicitly that the so-called 'Elgin Marbles' should be sent back to Athens, with the aim of reuniting them with the rest of the Parthenon sculptures in one place.

"I am, quite irrationally, in favour of returning the Elgin marbles to Greece, not to be put back on the Parthenon, but to be installed in a beautiful building on the far side of the Acropolis, which I think the British Government should pay for. I would do this purely on sentimental grounds, as an expression of our indebtedness to Greece," the letter reads.

Clark wrote this letter on 3rd September, 1943. He sent it to Thomas Bodkin, then director of the Barber Institute of Fine Arts and Barber Professor of Fine Art at the University of Birmingham. At the time, Clark was Director of the National Gallery. His letter is currently kept in Tate Britain.

This is the only time that a British Museum Trustee has gone on record as being openly in favour of the Parthenon Sculptures’ reunification, a view standing in stark contrast to the position of the British Museum that the Elgin marbles should stay in London.

Greek President Prokopis Pavlopoulos

Greek President Prokopis Pavlopoulos told Ta Nea: “The request for the return of the Parthenon Sculptures had found, since 1943, an "unexpected" ally in Lord Kenneth Clark, who is included among the most important 20th-century art historians and who, in this capacity, participated in the administration of the most relevant British Institutions, such as the British Museum, the National Gallery, the National Theatre, the Royal Opera House.”

“This example clearly evinces the gentility and nobility of Kenneth Clark’s character as well as the strength and conviction of his ‘cultural morality’. These elements, in conjunction with the expression of his respect for the World Cultural Heritage and the roots of our Civilisation, make him a great representative of Britain’s tradition. Clark’s case also evinces how "miserable" and completely unworthy of Britain's tradition as outlined above is the attitude of the British Museum's officials today, who thus end up appearing inferior to the circumstances and the necessities pertaining to the defence of World Cultural Heritage and our common Civilisation and, furthermore, unrepentant accomplices of Elgin's cultural crime,” Pavlopoulos added.

Professor Anthony Snodgrass

“Kenneth Clark’s (slightly unexpected) support, for a position now widely held in the U.K., is one pleasant revelation. More important, however, is his perceptive emphasis on the need for separate solutions to individual cases; and, yet more striking, the uncanny accuracy of his prediction, for the Marbles “to be installed in a beautiful building on the far [that is, South] side of the Acropolis”,” said Professor Anthony Snodgrass, Emeritus Professor in Classical Archaeology at the University of Cambridge, Honorary President of the British Committee for the Reunification of the Parthenon Marbles.

“More than sixty-five years later, the greater part of this prophecy was to be precisely fulfilled; it only remains for the natural sequel, the 'reintegration' of the Marbles, to be enacted too," he added.

Professor Judith Herrin

“How splendid that Kenneth Clark's 1943 vision of the reunited Parthenon marbles has been perfectly realised in the New Acropolis Museum,” said Professor Judith Herrin, Constantine Leventis Senior Research Fellow Emeritus at King's College London, and one of the longest serving members of the British Committee for the Reunification of the Parthenon Marbles.

“On 20th June the superlative Acropolis Museum will celebrate its 10th anniversary, having welcomed over 14 million visitors from all over the world and one can but imagine how elated Kenneth Clark would have been. Not only to see the top floor of the museum, the Parthenon Gallery but also the floors below and the opening of the area that has been painstakingly excavated to reveal 4,000 metres of homes, workshops, baths – an entire Athenian neighbourhood that existed from classical to byzantine years. What a pity that he is not alive to physically see all this and yet he too would have continued to have added his voice to the reunification of the Parthenon marbles. Britain has not paid for this museum and yet what is still missing are the many pieces that Lord Elgin so crudely removed from a building, currently displayed in the British Museum, the wrong way around, miles away from their other halves. Here’s to the day when they can be reunited in Athens and with views to the Parthenon, which still stands,” she added.

The Parthenon Sculptures have been displayed in the British Museum since 1817. They were removed from the Acropolis in Athens in the early 19th century by British diplomat Lord Elgin. Greece has challenged claims by the British Museum that Lord Elgin had obtained permission to transfer the Marbles from Athens to London and has demanded Britain open negotiations over their return.

Kenneth Clark (13 July 1903 – 21 May 1983) was a British art historian, museum director, and broadcaster. He was the National Gallery’s youngest ever Director. He achieved international fame as the writer, producer and presenter of the BBC Television series Civilisation.

Published in Ta Nea, Greece’s daily newspaper (www.tanea.gr)  . To read the origial article , follow the link here. 

Publication date: 14 June 2019

On Saturday 18 May 2019 the Acropolis Museum celebrates International Museum Day and European Night of Museums and invites visitors to participate in family programmes with free entry and extended opening hours from 8 a.m. to 12 midnight. The Museum restaurant will operate during the same hours.

Family programmes

On Saturday 18 May 2019 our younger visitorswill be able to participate in the two free family programmes: ‘Experience the Panathinaea Festival with all my senses’ (3-5 years old) and ‘What happened to Athena’s statue from the Parthenon?’ (6-9 years old). 

The cranes of the Acropolis

On the occasion of this year’s International Museum Day, the Acropolis Museum has produced, in collaboration with Hellenic Mint, commemorative medals dedicated to the cranes of the Acropolis. On the cornice of the first Parthenon (570 BC), cranes (geranos, in Greek) were depicted in horizontal flight, rendered in soft colors and in dense formation. For the ancient Greeks, the crane symbolized intelligence, alertness and good fortune. The medals will be available for purchase in the museum shop, located on the ground.