Max Norman, Culture correspondent, The Economist writes: "The Parthenon marbles have not budged from the literal and figurative centre of the British Museum in London since they were purchased from Lord Elgin in 1816. The sculptures—about half of the marbles that survive from the temple in Athens—have also been at the centre of the world’s most famous dispute over cultural property since Greece formally demanded their return in 1983."

Although the request for the return of these sculptures was also made before 1983, shortly after Greece gained independence in the 19th century.

"But in 2025, the marbles may finally be on the move—or, at least, negotiations about their status might take a big step forward. Many arguments against returning them have been toppled. The idea that the British Museum is the only competent custodian for the marbles has always seemed slightly spurious, even more so after one of its staff was accused of pilfering almost 2,000 antiquities and selling them on eBay. Just as powerful is a shift in public sentiment: a YouGov poll conducted in 2023 found that 49% of Britons were in favour of handing them back, and just 15% believed they should remain." Add Max Norman and as a campaigning body formed in 1983, BCRPM also welcomed the news of talks between Greece and the British Museum, and continues to congratulate Greece on the ground-breaking work invested at UNESCO's ICPRCP.

It was also encouraging and refreshing to hear UK's new government's Secretary of State for Culture, Media and Sport, Lisa Nandy at the Labour conference in September stating that repatriation of objects is on the government's agenda.

Time, to find the respectful solution to this long running cultural impasse. And as Max Norman also writes: "In the past few years, restitution has become a regular event." The UK as a a nation looking to lead the way, is recognising the need to address this issue too.

Public awareness of the issues around restitution and repatriation of cultural objects has grown over decades and BCRPM are grateful for those key figures that have championed this too! Support for the reunification of the Parthenon Marbles has been active not just in the UK and in Greece but throughout the globe. 

Max Norman's article can be read in full in the Economistand he concludes by quoting Dan Hicks: 'the idea of the museum as “a prison cell, where objects go to die” is now itself a historical relic.' 

Also in the Economist, Tristram Hunt, Director of the V & Aexplains why museums are turning themselves inside out: 'Opening up museums’ storehouses can improve transparency and accountability.'

“But where have you hidden all the other stuff?” This is the perennial question for museum directors, as we are accused of secretly stockpiling vast, unseen treasure troves. The truth is, in our hunger for audiences, we always want to put the best material on display, and as much of it as possible. Yet today’s visitors rightly demand ever more transparency and accountability around historic collections.

The coming year will see the latest example in a new era of access to public holdings with the opening of  East Storehouse in the Queen Elizabeth II Olympic Park in London. As “encyclopedic” museums in the global north wrestle with questions around the provenance and restitution of contested heritage, part of the response must be to reveal museums’ hidden secrets and put everything on show.

But we know that won’t be enough. As museums bring more objects to light in open storage spaces, the coming year will also see further demands for the restitution of cultural artefacts from institutions in the global north. Many British national museums—such as the British Museum—remain hidebound by laws preventing the “de-accessioning” of material looted during the imperial past.

Amid all the controversies, what is so rewarding, from a museum director’s perspective, is the continuing power of the object itself. For all the hype around digital immersion, and Google glasses, people want to see real things for themselves, not on screens, and want to see looted artefacts sent back home. What we hope to show at East Storehouse is that material culture has lost none of its allure. And we welcome the public challenges that come with putting all the hidden stuff on show." Concludes Tristram Hunt