A London Fashion Week event at the British Museum sparked significant outrage from Greece, particularly from Culture Minister Lina Mendoni, over the use of the Parthenon Marbles as a backdrop.
In a recent event that reignited tensions between Greece and the United Kingdom, the British Museum hosted a London Fashion Week show that drew sharp criticism from Greek officials. The show featured the Autumn Winter 2024 collection of designer Erdem Moralioglu’s brand, Erdem, set against the backdrop of the Parthenon Marbles. This collection was inspired by the famed Greek singer Maria Callas and her renowned 1953 performance in the opera Medea.
Lina Mendoni, the Greek Minister of Culture, expressed her discontent in a statement released late Saturday, condemning the museum for its apparent disregard for the historical and cultural significance of the Parthenon Sculptures. Mendoni accused the British Museum of showing “zero respect for the masterpieces of Pheidias” by hosting the fashion event in proximity to these ancient artifacts. She further criticized the museum’s directors for trivializing and insulting not only the sculptures themselves but also the universal values they represent. According to Mendoni, the conditions in which the sculptures are displayed and stored, particularly in the Duveen Gallery, are deteriorating, underscoring the need for these “stolen and abused sculptural masterpieces” to be returned to Greece to “shine in the Attic light.”
The Parthenon Marbles, taken from the Acropolis in Athens in the early 19th century by Thomas Bruce, the Earl of Elgin, have been a point of contention between Greece and the UK for decades. Greece argues that the marbles were stolen and should be returned, while the UK maintains that they were obtained legally. The 1963 British Museum Act, which prohibits the removal of objects from the museum’s collection, further complicates the situation. However, the museum hinted at the possibility of a loan agreement, despite the ongoing debate and pressure to repatriate other foreign antiquities.
The controversy took on an added dimension last November when a diplomatic spat unfolded between Greek Prime Minister Kyriakos Mitsotakis and UK Prime Minister Rishi Sunak. Mitsotakis expressed his displeasure over Sunak’s last-minute cancellation of a meeting intended to address the dispute over the marbles. The cancellation was reportedly due to Mitsotakis’s comments in a BBC interview, where he likened the division of the marbles between London and Athens to “cutting the Mona Lisa in half.” This analogy, replacing the earlier metaphor, highlighted the absurdity of splitting a singular piece of art between two locations, emphasizing the cultural and historical dissonance created by the current situation.
The fashion show at the British Museum, therefore, has not only stirred anger among Greek officials but also highlighted the ongoing debate over the ownership and proper treatment of cultural artifacts. The event serves as a reminder of the complex issues surrounding cultural heritage, the responsibilities of museums, and the importance of respecting the integrity of historical treasures. As the dispute over the Parthenon Marbles continues, the analogy of “cutting the Mona Lisa in half” serves as a powerful metaphor for the fragmentation of cultural heritage and the need for a resolution that respects the history and significance of these ancient artifacts.
With AFP
Béatrice Moreau
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