Helen Glynn, from BP or not BP? said:
‘The Troy exhibition has inspired us to create this magnificent beast, because the Trojan Horse is the perfect metaphor for BP sponsorship. On its surface the sponsorship looks like a generous gift, but inside lurks death and destruction. This is our 40th performance intervention at the British Museum: for eight years our peaceful creative protests have been dismissed and the museum has continued to back BP. Now the planet is literally burning. So we invite everyone to come along to our mass action tomorrow and make sure the museum can no longer ignore the fact that, in order to have a liveable planet, BP Must Fall.’
Those that gathered on Saturday 08 February 2020 to support the activists and the performers, were all targeting BP’s sponsorship of the museum’s current Troy: Myth and Reality exhibition.
Multiple groups from around the world came together in the museum to make the links between climate change, fossil fuel extraction, colonialism, human rights abuses and workers’ rights, using the museum as a backdrop for calls for justice and decolonisation and reimagining what a truly enlightened, responsible and engaged British Museum could look like.
Room 18, The Parthenon Galleries was no exception. Groups gathered to hear Danny Chivers of BP or not BP? helped by Marlen Godwin of the BCRPM, to explain the connection of Saturday's protest againt BP sponsorship of exhibitions at the British Museum, with the unfair 200 year plus division of the Parthenon Marbles. The peerless collection of the sculptures from the Parthenon are mainly exhibited between the British Museum in London and the Acropolis Museum in Athens.
BCRPM has been campaigning for the return of the sculptures from London to Athens, since 1983. The 'new' Acropolis Museum was officially opened in June 2009, picking up an award in London in November 2010. In June 2019, it celebrated it's 10th anniversary and BCRPM helped Hellena Micy sing her song for the Parthenon Marbles in Room 18. Hellena sang her song 10 times, once for every year that the museum in Athens has welcomed visitors from all over the world. To listen to Hellena's song, please follow the link here.
2020 is also Melina Mercouri year. With that in mind, BCRPM had t-shirts printed for the day and included in the presentations in Room 18 the background to Melina's pleas for the return of the sculptures. We would like to thank the Melina Mercouri Foundation for their kind permission to use the image of Melina on the t-shirt. If you would like to order one, kindly email This email address is being protected from spambots. You need JavaScript enabled to view it.
Celebrating the activist Melina Mercouri, who had championed for all freedoms, from the freedom of speech and to more, BCRPM also remembered their Chair, Dame Janet Suzman when she had campaigned and protested against aparththeid in South Africa. These two activist women share a great deal, from acting to their passionate protests, to their love for the Parthenon and its sculptures. To this day Janet continues to be enthusiastic about protests in the BM, so much so that in 2018, she wrote words that Danny Chivers read out in Room 18.
In 2019 at another BP or not BP? protest, Cambridge University stdent Petros Papadopoulos also quoted Janet during his passionate plea for the 'RETURN' of the marbles to Athens.
And so to the protest on 08 February 2020, Janet's words were heard in Room 18 once again:
These unmatched sculptures that you see before you have a home waiting for them. These figures, part of an ancient belief system, have been stranded in the grandest refugee centre you’ve ever seen - the great British Museum itself. But home is where they were created two and a half thousand years ago.
In Athens stands a fine building especially built to house them, and this year in June, the New Acropolis Museum will celebrate its eleventh anniversary. On its top floor there are yearning gaps where these very sculptures should be sitting, joined with the other half of the pedimental carvings and in direct sight of the ancient building from which they were chopped, and which, astonishingly, still stands proud on its ancient rock. That fact alone makes these sculptures unique; we can still see exactly where they first displayed themselves, for they were never intended as separate 'works of art', but as part of the mighty whole of Athena’s glorious temple. Who, one wonders, was a mere occupying Sultan to sign away the genius of Periclean Athens?
Now is the time to do the right thing. SIMPLE JUSTICE DEMANDS IT! GO BM! Do it!
The protest was also covered in Ta Nea with an article by Yannis Andritsopoulos, UK Correspondent for Ta Nea, based in London.
