The British Museum hosted its inaugural pink ball, a lavish gala event that drew a star-studded crowd and raised over £2.5 million for the museum’s benefit. Guests paid an average of £2,000 each to attend the four-day event. They relaxed over a pre-dinner drinks reception in the museum’s Great Court and dined amid magnificent fifth-century BCE Assyrian wall carvings in the Duveen Gallery. The audience was packed with celebrities and billionaires. Starry A-list appearances came from the likes of Mick Jagger, Naomi Campbell, Alexa Chung, Miuccia Prada, Manolo Blahnik and Kristin Scott Thomas.
Yet out of all the excitement surrounding the success of the British Museum’s event, the Greek government was noticeably displeased. From there, cultural Minister Lina Mendoni tore into the museum without mincing words. She condemned its presentation as evoking a “provocative indifference” to artifacts that represent the height of classical Western art. Her remarks acknowledge a decades-long battle waged over the Parthenon sculptures. For decades, Greece has fought an aggressive campaign to get them returned to their homeland.
Nikitas Kaklamanis, the speaker of Greece’s parliament, called the event “an insult.” He lambasted its ostentatiousness, particularly when compared to Greek culture. He stated that it was inappropriate for the British Museum to “cover Greek culture in the shade of Barbie,” referring to the event’s pink theme. Kaklamanis went on to condemn the “provocative use” of the sculptures, turning them into tourist attractions.
“At a time when the Parthenon sculptures, born in Athens 2,500 years ago, are patiently awaiting their return to the homeland … the British Museum lays out provocative, lavish tables in the Duveen Gallery with our sculptures as a backdrop.” – Nikitas Kaklamanis
The pink ball symbolized a dramatic low in the ongoing saga of the British Museum’s relationship with Greek authorities. The continued debate over the future of the Parthenon sculptures has grown more contentious. Nikolaos Stampolidis, general director of the Acropolis Museum, echoed this sentiment, stating that the event underscored the necessity of reuniting the masterpieces with their original context.
The Acropolis Museum boasts an upper gallery specifically designed to display these ancient sculptures within view of the Parthenon itself. This stunning architectural feature symbolizes Greece’s successful approach of prioritizing the protection of the cultural heritage and re-linking the past and the present.
The British Museum’s decision to host such a high-profile event during ongoing negotiations over the fate of these artworks has raised eyebrows and deepened tensions. Critics contend that these types of showcases not only trivialize important cultural assets, but detract from the serious conversations that should be held regarding their return to Greece.