Greece is Buoyed by Turkish Official's Comments about Parthenon Sculptures Taken by Britain

The antiquities, also known as the Elgin Marbles, were removed in the early 19th century by Lord Elgin - The AP
The antiquities, also known as the Elgin Marbles, were removed in the early 19th century by Lord Elgin - The AP
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Greece is Buoyed by Turkish Official's Comments about Parthenon Sculptures Taken by Britain

The antiquities, also known as the Elgin Marbles, were removed in the early 19th century by Lord Elgin - The AP
The antiquities, also known as the Elgin Marbles, were removed in the early 19th century by Lord Elgin - The AP

One of the world’s most intractable cultural disputes is back in the spotlight after a Turkish official cast doubt on the existence of proof long cited by Britain that it had legally acquired the Parthenon Marbles, 2,500-year-old sculptures taken from the Acropolis in Athens.

Greece's culture minister said the comments made at a UNESCO meeting in Paris last week on the return of cultural property bolster Greece's argument that the sculptures were illegally removed from the Parthenon temple on the Acropolis and should be returned.

The antiquities, also known as the Elgin Marbles, were removed in the early 19th century by Lord Elgin, Britain's ambassador to the Ottoman Empire which ruled Greece at the time, and are housed in the British Museum in London. Greece has long campaigned for their return.

The museum maintains Elgin removed the sculptures legally after Ottoman authorities granted him an imperial edict, or “firman,” allowing him do so.

But Zeynep Boz, the head of the Turkish Culture Ministry’s anti-smuggling committee, said at a meeting of UNESCO's Intergovernmental Committee for Promoting the Return of Cultural Property in Paris that no such document has been found.

As the successor to the Ottoman Empire, "Türkiye is the country that would have the archived document pertaining to things that were sold legally at that time,” Boz told The Associated Press Wednesday. “Historians have for years searched the Ottoman archives and have not been able to find a ‘firman’ proving that the sale was legal, as it is being claimed.”

Boz added she felt obliged to intervene during the UNESCO meeting after a British participant said in his speech that the Elgin Marbles were bought legally during the Ottoman era.

“To have remained silent would have amounted to acknowledging the British claim,” she said. “I had to say: ‘We are not aware of such a document’.”

The only known existing document referring to the imperial edict is an Italian translation.

However, Boz said it has “no signature, no stamp, no tughra (official seal of the sultan). Nothing to make it official. The document it allegedly refers to is nowhere to be found.”

While ties between Greece and Türkiye are often strained and the two countries are at odds over a wide series of issues, including territorial claims, both seek the return of cultural artifacts removed from their territories and currently housed in museums around the world.

Greek Culture Minister Lina Mendoni said the comments bolstered Greece’s argument that Elgin illegally removed the sculptures.

“There never was an Ottoman ‘firman’ granting Elgin the permission to treat the Parthenon Sculptures with the brutality with which he did,” Mendoni said Tuesday. “Türkiye's representative (at the UNESCO meeting) confirmed what the Greek side has been arguing for years. That there was no ‘firman’.”

Mendoni said Greece remained “open to dialogue” and would continue its efforts for the return of the sculptures, which have a place set aside for them in the Acropolis Museum in Athens.

While the British Museum is banned by law from permanently returning the sculptures, its leaders have held talks in the recent past with Greek officials about a possible compromise that could see the sculptures displayed in both Athens and London.

Those efforts suffered a setback last November, when a diplomatic spat erupted over the marbles and British Prime Minister Rishi Sunak abruptly canceled a planned meeting with his Greek counterpart, Kyriakos Mitsotakis.

Asked about Boz's comments, the British Museum referred to a statement it gave to the UNESCO meeting reiterating its desire for a “Parthenon partnership” to resolve the dispute, and said it had nothing more to add.

“The British Museum recognizes the strong desire of Greece for the Parthenon Sculptures in London to be returned to Athens,” the statement said. “This is a question with a very long history, and we understand and respect the strong feelings that this debate commands."

It said it was “keen to develop a new relationship with Greece — a ‘Parthenon partnership’ — and to explore the possibility of innovative ways of working (with our Greek friends) in the hope that understanding of the Parthenon Sculptures deepens and continues to inspire people across the world.”



Public Art Abu Dhabi Biennial to Launch on November 15

The inaugural Public Art Abu Dhabi Biennial will feature over 70 UAE-based and international artists. WAM
The inaugural Public Art Abu Dhabi Biennial will feature over 70 UAE-based and international artists. WAM
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Public Art Abu Dhabi Biennial to Launch on November 15

The inaugural Public Art Abu Dhabi Biennial will feature over 70 UAE-based and international artists. WAM
The inaugural Public Art Abu Dhabi Biennial will feature over 70 UAE-based and international artists. WAM

The inaugural Public Art Abu Dhabi Biennial will commence on November 15, featuring over 70 UAE-based and international artists who will present site-specific installations and performances in Abu Dhabi and Al Ain, themed ‘Public Matter,’ Emirates News Agency (WAM) reported.

Organized by the Department of Culture and Tourism – Abu Dhabi (DCT Abu Dhabi) as a key pillar of its Public Art Abu Dhabi initiative, artists will include Allora & Calzadilla, Arquitectura Expandida, Christopher Joshua Benton, Farah Al Qasimi, guBuyoBand, Hashel Al Lamki, Kabir Mohanty, Khalil Rabah, Oscar Murillo, Radhika Khimji, Sammy Baloji, Tarik Kiswanson, Wael Al Awar, Zeinab Alhashemi and more, WAM said.

The first Public Art Abu Dhabi Biennial focuses on redefining the concept of "public" within the unique context of Abu Dhabi, considering factors such as environmental conditions, communal living, and city planning. It highlights the influence of a diverse, immigrant population on the city's public life and emphasizes values like hospitality and generosity.

The Biennial aims to explore the cultural experiences of various transitory communities and their integration into public spaces. By showcasing site-specific artworks and performances in accessible downtown locations, it underscores the significance of public art as a communal resource.

"We are launching the Public Art Abu Dhabi Biennial as part of our wider cultural vision, providing a unique platform for our community to both appreciate our cultural heritage and be inspired by contemporary art. It also reflects our commitment to supporting creatives in Abu Dhabi, the global south and the rest of the world through flagship art programs,” said DCT Abu Dhabi Chairman Mohamed Khalifa Al Mubarak.

“Taking over key sites in Abu Dhabi City and Al Ain, the Biennial will further position the emirate as a center for culture and creativity, and ensure transformative, inclusive and accessible art encounters are available to both our residents and visitors.”