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The Robot Guerrilla Campaign to Recreate the Elgin Marbles

The New York Times


Nell'articolo si ripercorre la storia della disputa che contrappone Grecia e Inghilterra dal 1800 quando alcuni dei marmi del Partenone sono stati portati inn Inghilterra. Nel video allegato all'articolo si vedono le fasi di lavorazione di una delle statue, la testa del cavallo, a TORART.

L'articolo è stato pubblicato anche nella versione "cartacea" del giornale nella sezione "Science Times" dal titolo "Is There Art in a Copy?" 

Di seguito l'incipit dell'articolo:

Few cultural disputes inflame British passions more than the disposition of the Parthenon Marbles. Public debate about the statuary has raged since the early 1800s, when the sculptures and bas-reliefs, which date from 447 B.C. to 432 B.C., were stripped from the Parthenon and other Classical Greek temples on the Acropolis of Athens by agents of Thomas Bruce, a Scottish statesman and seventh earl of Elgin. The marbles were purchased — some say looted — by Elgin during his time as ambassador to the Ottoman Empire, the occupying power; they have resided in the British Museum since 1817.

Greek campaigners have repeatedly called on Britain to repatriate the works, arguing that the Turks were a foreign force acting against the will of the people they had invaded. The works, commonly known as the Elgin marbles, would instead be exhibited in Athens, in a purpose-built museum at the foot of the Acropolis. In May, the country’s culture minister, the archaeologist Lina Mendoni, said in a statement to the Guardian, “Lord Elgin used illicit and inequitable means to seize and export the Parthenon sculptures, without real legal permission to do so, in a blatant act of serial theft.”

But officials at the British Museum have staunchly rejected the requests. Backed by a succession of British governments, the museum has justified retaining the marbles on the grounds that Lord Elgin acquired them legitimately; it claims that taking the relics to London helped to safeguard them from neglect and the corrosive effects of Athens’ acid rain and that they are part of a shared heritage, and thus transcend cultural boundaries.

“We are open to exploring any potential loan,” a British Museum spokesperson said, “with formal acknowledgment of the lender’s title to objects and a commitment to return objects a standard precondition.” But Greece will neither acknowledge the lender’s title to the objects, nor will it abide by the “standard precondition.”

Leggi l'articolo del New York Times