Posts Tagged ‘British Museum’

End BP’s British Museum Greenwash – 2015

Wednesday, December 20th, 2023

End BP’s British Museum Greenwash – On Sunday 20th December 2015 I went with ‘actor-vists’ from ‘BP or Not BP?’ to photograph the play they were staging uninvited in the British Museum’s Great Court depicting ‘BP executives’ giving a farewell party to departing Museum director ‘Neil MacGregor’.

End BP's British Museum Greenwash

Climate activists were calling on the British Museum and other art institutions to stop accepting sponsorship from BP and other companies whose activities are accelerating global warming. This protest came just a few days after the Paris climate talks in which some were arrested for protesting inside the Louvre over its sponsorship by major oil companies Total and Eni.

End BP's British Museum Greenwash

It was a part of a whole series of protests in the UK which eventually led the Tate, the National Portrait Gallery, National Galleries Scotland, the Royal Shakespeare Company and the Royal Opera House all to end sponsorship by BP. Their protests continued later in the British Museum, which in June this year (2023) finally appears to have decided to end its agreements with BP after 27 years. The only major cultural institution still partnering with BP is now the Science Museum’s education academy.

End BP's British Museum Greenwash

BP’s contribution to the Museum’s budget was relatively small, a fraction of a percent, but on my first visit for some years around ten years ago I was surprised and rather shocked by the engraved message on the wall of the rotunda in the Great Court and the many times the BP logo appeared on display texts. It also featured prominently on the publicity for the museum’s major exhibitions, including Vikings, Ming, Indigenous Australia: Enduring Civilisation, the Mexican Day of the Dead and Sunken Cities, the last two perhaps particularly unfortunate as BP has been given the largest corporate criminal fine in history of $18.7 billion for the underwater Deepwater Horizon oil spill which caused huge pollution of the ocean around the coast of Mexico.

End BP's British Museum Greenwash

I’d got to know the British Museum quite well in the 1970s when my wife worked for a couple of years in the British Library which was then based there, writing entries for the catalogue and serving readers at the desk there. What had been rather dark lobbies around the central hall had been transformed into a large open area, but also the Museum had become very much a space promoting the “World’s Biggest CORPORATE CRIMINAL.’ The open space did however in December 2015 provide a great theatre for ‘BP or Not BP?’

Around 20 performers had made their way into the museum carrying props and banners in bags, under coats and in pockets, and grouped in the Great Court in front of the Rotunda, close to where the message of thanks to BP is engraved in the wall. I think there was not a great deal of security although the performance had been quite widely advertised probably because many Museum staff are also opposed to or embarrassed by BP sponsorship.

The play then began with the cast, dressed as BP executives, having a party and singing a song about departing director Neil MacGregor giving BP “cheap branding and a social license to operate through all the oil spills” to the tune of Robbie Williams’s ‘Angels’, then leaving the stage to three ‘BP executives’ who were shortly joined by the actor playing Neil MacGregor, who they thanked effusively for his support, listing and commenting about some of their activities including the various exhibitions.

‘MacGregor”s reply to their thanks included various revealing quotes from e-mails he had written to BP staff which had been revealed by Freedom Of Information requests, and he was plied with oily champagne and a cake representing the world until he collapsed drunk. The BP executives then discussed how they would “befriend and bribe” new director, Hartwig Fischer, with “even more lavish dinner parties! … Business meetings! … Opening nights! … VIP Previews! … Exhibitions! … Screenings! … Drinks!” before ending with a toast and singing together to the tune of Auld Lang Syne a song whose chorus was (with some slight variations):

For all the OIL and lies, my dears,
For all the OIL and lies,
We gave a tiny sum of cash
Meanwhile the planet fries.

The group had been approached by a Museum security officer as they began the performance and had assured him it would be fairly short and they would then leave and I think the museum decided not to call the police. As the play ended they cleaned up the floor and marched out singing, pausing briefly in the foyer and then giving a second performance on the portico outside before we went to a nearby pub where I made a hasty edit and handed over pictures to them.

You can still see a video about the performance on the on the BP or NOT BP? web site, along with several of my pictures. I had taken a large number of pictures and those on My London Diary are largely the out-takes from the large set for the performers.

More pictures at End BP’s British Museum Greenwash.


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Slavery, Meditation, Stolen Goods & Santas

Thursday, December 8th, 2022

Saturday 8th December 2018 was another busy day for me in London.


Protest Slavery in Libya – Saturday 8th December 2018

Slavery, Meditation, Stolen Goods & Santas

Campaigners held a short rally outside Europe House in Smith Square protesting over the lack of action by the EU over African migrants and refugees being sold or held against their will in Libya by terrorists and jihadists which the EU funds.

Slavery, Meditation, Stolen Goods & Santas

They then marched to protest at the Foreign & Commonwealth Office, saying the UK had failed to do anything to help because the victims were African, then stopped briefly at Downing St on their way to the Libyan Embassy.

Slavery, Meditation, Stolen Goods & Santas

I left them as the went past Trafalgar Square for my next event.
Protest Slavery in Libya


Dharma meditation for climate – Trafalgar Square, Saturday 8th December 2018

In Trafalgar Square members of the Dharma Action Network were meditating and handing out flyers calling for people and governments to take effective actions to combat climate change. They urged people to move their money out of banks which invest in fossil fuels, get informed by reading the IPCC report on global warming and join them and other groups including Friends of the Earth, Greenpeace or take action with Extinction Rebellion.

Dharma meditation for climate


British Museum Stolen Goods Tour – British Museum, Saturday 8th December 2018

News in the past weeks that the Horniman Museum is returning the Benin Bronzes and other items in its collection to Nigeria is a sign of the changing attitudes to museums holding on to looted objects. The museum handed over total of 72 bronzes and other objects to Nigeria. But the British Museum is full of thousands of questionably acquired objects, including over 900 from Benin.

BP or Not BP, a group opposed to the polluting oil company ‘greenwashing’ its dirty fossil fuel business by sponsoring artistic activities including major exhibitions in the British Museum had organised a tour of some of the more important stolen cultural artifacts in their collection, beginning with the Gweagal shield, stolen by Captain Cook when his men had first landed in Australia.

When they landed they were greeted by the indigenous inhabitants carrying spears and wooden shields; the sailors opened fire with muskets, with one musket ball going through the shield and wounding Cooman. The people dropped their weapons and fled, carrying the wounded man.

This shield is now on display in the British Museum and spears and other items are also in their collection, with some in other museums. This was the second time I had photographed Indigenous Australian campaigner Rodney Kelly, a 6th generation direct descendant of Cooman, standing in front of the glass-fronted cabinet containing the shield and talking about its history. His talks with the museum authorities have so far failed to get the property returned.

There was a packed audience listening to Kelly playing his didgeridoo and then telling the story of the shield and telling of the failure of the British Museum authorities to take seriously the oral tradition of his people as it could not be confirmed by written records. The Museum has gone to desperate lengths, including getting their own experts to cast doubt on the stories which the museum had previously featured about these objects.

From there we moved on, guided by BP or not BP campaigners some dressed as ‘burglars’ in striped black and white tops and carrying a sack for swag.

Another in a smart suit with a BP logo explained why BP gave the museum a relatively small amount in sponsorship which gave them huge rewards in making them seem a responsible company despite their reprehensible activities in countries around the world, despoiling resources, polluting the environment and severely aggravating global warming by encouraging fossil fuel use.

Outside the entrance to the BP-sponsored Assyrian show an Iraqi woman talked about BP’s role in her country and the looting which followed the invasion of Iraq including some of cultural artifacts which formed a part of this show.

By a large stone figure from Easter Island a speaker from Pacific Island arts group the Interisland Collective talked about the treatment by museums of Maori and Pacific Islands cultural items and read a statement from the Rapa Nui Pioneers on Easter Island calling for the return of this stolen Moai Head.

The final location for the tour was in the large room containing the Parthenon (Elgin) Marbles, where BP or not NBP’s Danny Chivers revealed his partly Greek ancestry and talked about his visit to the Parthenon and the museum there which has been built to exhibit its missing sculptures.

It seems inevitable that eventually the British Museum and other museums will have to return these objects, and to replace at least some of them by facsimiles would enable the museum to continue its educational function while restoring vital cultural objects to their proper homes.

More at British Museum Stolen Goods Tour.


London flooded with Santas – Covent Garden, Saturday 8th December 2018

Christmas was coming and so was Santacon, a huge annual charity event and excuse for a highly alcohol-fuelled stagger and dance through the streets of central London dresses as santas, elves and reindeer.

The event had started at various locations and large crowds were now converging on Trafalgar Square spreading glad tidings as darkness fell, some following hand-pulled sound systems and dancing on the streets, though many groups were diverted into pubs and food shops on the way.

I had fun dancing along with some of them and taking photographs close to the British Museum and then going through Covent Garden, but by the time I reached Trafalgar Square decided I’d photographed my fill of santas and took a bus to Waterloo.

More santas at London flooded with Santas.


Stratford, Woolwich & Chelsea

Monday, January 10th, 2022

Stratford, Woolwich & Chelsea
Perhaps the only thing these three parts of London really have in common was that I photographed in them in the last few days of July 1988. The first two were on a family visit to the railway museum then at North Woolwich station, largely for the benefit on my two sons, then aged 12 and 9, and both with a real interest in railways and had decide on this as a birthday outing for the elder. I think we probably had a few of their friends with us, some in the second picture below.

Stratford Station, Stratford, Newham, 1988 88-7m-34-positive_2400
Stratford Station, Stratford, Newham, 1988 88-7m-34

North London Line, Stratford Station, Stratford, Newham, 1988 88-7m-35-positive_2400
North London Line, Stratford Station, Stratford, Newham, 1988 88-7m-35

And once we were in North Woolwich it would have been a shame to miss the free ride across the River Thames on the Woolwich Ferry. One of their favourite books when younger had been Alfie and the Ferryboat, by Charles Keeping, published in 1968 Keeping, born close the the Thames in Lambeth tells the story of a small boy from Woolwich crossing the river on the ferryboat to ‘the other side of the world’ in search of his old sailor friend Bunty and his dog.

Woolwich Ferry, North Woolwich, Newham, 1988 88-7m-24-positive_2400
Woolwich Ferry, North Woolwich, Newham, 1988 88-7m-24

Keeping was a superb and innovative illustrator and the book is perhaps his best work. Copies of it are now hard to find and rather expensive.

Woolwich, Greenwich, 1988 88-7m-12-positive_2400
Woolwich, Greenwich, 1988 88-7m-12

The ferry that Alfie took was one of the same that we took, which were introduced in 1963 – the John Burns, Ernest Bevin and James Newman, double-ended ships with powerful diesel engines which were replaced in 2018 after 55 years on the run.

I only made twelve black and white pictures on this trip, along with three in colour, probably too occupied with herding 12 year-old boys than photography, and getting them all back to a birthday tea on the other side of London.

Moorings, River Thames,Cheyne Walk, Worlds End, Chelsea, Kensington & Chelsea, 1988 88-7m-14-positive_2400
Moorings, River Thames, Cheyne Walk, Worlds End, Chelsea, Kensington & Chelsea, 1988 88-7m-14

Days are long in July, and four days later I began taking pictures on Battersea Brdige and then a short walk in Chelsea.

Crosby Hall, Cheyne Walk, Chelsea, Kensington & Chelsea, 1988 88-7n-02-positive_2400
Crosby Hall, Cheyne Walk, Chelsea, Kensington & Chelsea, 1988 88-7n-02

Probably I had looked at pictures I had taken earlier in the year and decided there were some I would like to retake, or perhaps found some things I had missed. I spent a lot of time on researching the areas I was photographing, which was much harder before the days of the world wide web – and many of the books I had to rely on were years out of date, often pre-war or even older.

Sir Hans Sloane, memorial, Chelsea Old Church, Cheyne Walk , Chelsea, Kensington & Chelsea, 1988 88-7n-62-positive_2400
Sir Hans Sloane, memorial, Chelsea Old Church, Cheyne Walk , Chelsea, Kensington & Chelsea, 1988 88-7n-62

I think I may not have got a picture – or not one I liked of this memorial to Sir Hans Sloane (1660-1753), an Anglo-Irish doctor and collector who travelled widely to France and the Caribbean, where he supposedly invented drinking chocolate as well as giving a harrowing account of the sadistic punishments inflicted on slaves and married the wealthy widow of one of the larger slave owners.

Her money from slavery and his income from a doctor and investments in property and slave trading companies enabled him to build up a collection of 71,000 items which he left to the British Nation. These provided the foundation of the British Museum, the British Library and the Natural History Museum.

Christchurch St, Chelsea, Kensington & Chelsea, 1988 88-7n-55-positive_2400
Christchurch St, Chelsea, Kensington & Chelsea, 1988 88-7n-55

But after taking around thirty pictures the next (not on-line) shows a view from the back of two women on a station escalator, with the next frame on the Commercial Road in Limehouse. I think I will have taken the Underground from Sloane Square to Tower Hill and walked to Tower Gateway for the DLR which had opened in 1987 to Limehouse. But pictures from my longer walk from there will be in a further post.


Click on any of the pictures to see a larger version in my album 1988 London Photos, from where you can browse the rest of the album.


BP Or Not BP?

Monday, December 20th, 2021

Since their birth as the Reclaim Shakespeare Company in 2012, BP Or Not BP? have carried out an incredible range of high-profile theatrical interventions which have received widepread media coverage against the abuse of our major cultural institutions by BP. One of the world’s major fossil fuel companies, BP uses its support of the arts to give it a respectable and worthy veneer while continuing to play its part in fuelling global warming and preventing real action against climate change.

According to the BP Or Not BP? website, the “have performed without permission at the Royal Shakespeare Theatre, the British Museum, the Edinburgh International Festival, the National Gallery, Cadogan Hall, the Royal Opera House, the Science Museum, the Roundhouse, the Noel Coward Theatre, the National Portrait Gallery and in Tate Britain.’

Some of these events have involved wide public participation, and have had considerable advance publicity andI’ve photographed a number of those that have taken place in London, but others have needed to be kept secret in advance, with only the players and a small number of trusted photographers and videographers being involved.

BP sponsored an exhibition on Mexico – the site of BP’s 2020 Deepwater Horizon disaster

On 20th December 2015, I was pleased to be asked to photograph a performance of a play depicting ‘BP executives’ giving a farewell party to departing Museum director ‘Neil MacGregor’ inside the British Museum’s Great Court as visitors and security stood and watched. The pictures here are a small reflection of those I took on that occasion.

Sunken Cities – BP activities are causing sea level rise

You can read my account of the event at End BP’s British Museum Greenwash, along with a more detailed account of the proceedings including the full written script by BP or Not BP? on their web site. Although as I wrote, the actual performance contained considerable improvised embellishment.

In my account of the event, I included these paragraphs about the reasons behind the protest:

BP makes a relatively small contribution to the museums budget, a fraction of a percent, for which they get an engraved message on the wall of the rotunda in the Great Court and their logo prominently on the publicity for the museum’s major exhibitions, including Vikings, Ming, Indigenous Australia: Enduring Civilisation, the Mexican Day of the Dead and Sunken Cities, the last two perhaps particularly unfortunate as BP has been given the largest corporate criminal fine in history of $18.7 billion for the underwater Deepwater Horizon oil spill which caused huge pollution of the ocean around the coast of Mexico.

The current 5-year sponsorship deal between BP and the British Museum ends shortly and the museum and its new director will soon have to decide whether to renew its with the oil giant. While a good deal for BP, the amount concerned is a relatively small contribution to the museum’s budget, and thanks to the activities of BP or Not BP and other climate activists results in a great deal of bad publicity for the museum; hopefully they will look for less toxic sponsors.

After the performance inside the museu, there was another on the steps outside

Unfortnately the British Museum hasn’t ended its deal but renewed it and is still taking dirty oil money from BP. In November 2021 over 90 leading members of the archaeology and museum community sent an open letter to the Museum trustees calling on them to end BP sponsorship which they describe as “a strategy of reputational management. BP is taking advantage of the British Museum’s status as a highly respected institution, and of the public’s love of museums and heritage, to associate its brand with values of high culture, art, education, sophistication, reason, and knowledge. These values have powerful significance and appeal within our society and, crucially, among our political and civic decision-makers.”

BP or not BP? might put it more succintly: “‘greenwashing’ their very dirty, oily, reputation”.


British Museum and BP

Sunday, December 20th, 2020

Five years ago today on 20th December 2015 I went into the British Museum with “actor-vists” from ‘BP or not BP‘ to photograph their ‘A Farewell to Neil MacGregor – Director of the British Museum‘ who had enjoyed a “cosy relationship” with the museum’s sponsor, BP.

Fossil-fuel companies make their profits largely through the combustion of the hydrocarbons they produce in the engines of cars, lorries and aeroplanes and the boilers used to generate electricity and heat buildings and other processes which turn the carbon in these fuels into the greenhouse gas carbon dioxide, the main cause of the global warming which is currently threatening the future of human life.

As well as that, the prospecting and exploitation of oil resources, now more and more taking place in environmentally fragile areas such as the Arctic, together with spillages, some inevitable but others demonstrating a remarkable lack of care are causing terrible damage to our environment. And of course most of what doesn’t get burned is made into plastics and we are now becoming aware of the huge amounts of this that ends up in the marine environment with disastrous consequences.

While continuing to fuel the global crisis, companies such as BP have invested heavily in promoting themselves as good guys, publicising the relatively small investments they have been making in renewable energies and other green areas. It’s a short-sighted policy as their long-term future – and ours – depends on a complete move away from carbon fuels, but one which keeps current investors rich at the cost of the rest of us.

Almost certainly the most cost-effective part of the ‘green-washing’ of BP’s ecologically disastrous activities has been their sponsorship of many of our major cultural institutions including the British Museum, something which the cultural activists of ‘BP or not BP’ have highlighted in a number of artistic interventions. I was pleased to be able to photograph their play depicting ‘BP executives’ giving a farewell party to departing Museum director ‘Neil MacGregor’ inside the British Museum’s Great Court.

Although BP’s contribution is only a fraction of the museum’s budget, they get an engraved message on the wall of the rotunda in the Great Court and their logo prominently on the publicity for the museum’s major exhibitions which have included Vikings, Ming, Indigenous Australia: Enduring Civilisation, the Mexican Day of the Dead and Sunken Cities. As BP or Not BP point out, the last two are particularly unfortunate as BP has been given the largest corporate criminal fine in history of $18.7 billion for the underwater Deepwater Horizon oil spill which caused huge pollution of the ocean around the coast of Mexico.

My write-up on My London Diary gives a fairly full account of what happened with a lot more pictures. Many museum staff are unhappy about taking cash from BP and welcome the publicity protests like this give. The protesters assured the museum security that they would cause no damage and leave without any trouble after the relatively short performance which continued without any interruption and entertained a number of the visitors to the museum.

You can also read a fuller account, with some of my pictures and including the full text of the play on the on the BP or not BP website.


All photographs on this and my other sites, unless otherwise stated, are taken by and copyright of Peter Marshall, and are available for reproduction or can be bought as prints.


British Museum’s Stolen Goods

Tuesday, September 3rd, 2019

Stolen Land – Stolen Culture – Stolen Climate‘ was the message on the banner carried by two people dressed as cartoon criminals in masks and striped jumpers for the unofficial tour of the British Museum by campaigners ‘BP or Not BP?’ callling for stolen cultural objects to be be returned to their countries of origin.

As in a previous tour by the campaigners, the event with indigenous Australian campaigner Rodney Kelly in front of the Gweagal shield, stolen from his ancestor by Captain Cook and his men when they arrived at Botany Bay, along with other shields and spears. His plea with the museum authorities that this shield be returned to its homeland to form the nucleus of a new museum there has so far fallen on deaf ears.

Danny Chivers of BP or Not BP? had introduced the event, explaining their campaign to end sponsorship of the British Museum and other cultural institutions by BP which they use to improve their image, with a great deal of positive publicity at relatively little cost. BP are one of the companies driving climate change and their operations in oil extraction around the world are highly polluting and dangerous to the environment as well as being accompanied by significant human rights abuses. Putting cash into exhibitions, concerts and opera performances helps to cover up their crimes.

After Kelly had spoken about his ancestors and their treatment and the failure of tbe British Museum to contemplate handing back the stolen objects, Samir Eskanda spoke about many objects which have been taken over the years from ‘biblical’ excavations in Palestine, but which are important to understanding the culture and history of Palestine and the Middle East and should be returned to museums there.

The crowd then moved on to the Assyrian galleries, where as well as the removal of cultural objects by excavations in the last century, the 2003 invasion of Iraq was accompanied by a huge amount of looting. Many of these looted objects have now been sold at auctions, particularly in the UK and US and are now in museum and private collections, despite objections from Iraq and Iraqi institutions.

Finally we all moved on to the gallery which contains the Parthenon (or Elgin) Marbles, bought from the Turkish occupiers of Athens by Lord Elgin, essentially looted items.

More pictures at British Museum Stolen Goods Tour.


All photographs on this and my other sites, unless otherwise stated, are taken by and copyright of Peter Marshall, and are available for reproduction or can be bought as prints.

There are no adverts on this site and it receives no sponsorship, and I like to keep it that way. But it does take a considerable amount of my time and thought, and if you enjoy reading it, please share on social media.
And small donations via Paypal – perhaps the cost of a beer – would be appreciated.


BP out of the BM

Saturday, May 25th, 2019

‘BP or not BP’ is a bunch of activists who stage performances of one sort or another at various cultural institutions and events to protest at the way the arts are being used to promote and sanitise companies guitly of destroying the planet and other crimes, ‘greenwashing’ to hide their mucky stains.

BP are a prime example of such a company, responsible for many murky political dealings in countries around the world in search of oil, Extracting oil has destroyed valuable ecosystems though pollution, with huge oil spills threatening large areas of ocean life. Its oil feeds the plastics and artificial fabrics industries, while the use of oil products in heating, air conditioning and transport etc is the cause of the huge increase in grrenhouse gases which is causing disastrous global warming.

BP gives a relatively small financial contribution to the British Museum, for which it gets a incredible return in good publicity, its logo on posters and on labels in the museum.

The protest took place on the 16th anniversary of the invasion of Iraq, conducted as is now clear from documents from many sources largely to ensure access by US companies to Iraqi oil resources rather than anything to do with the WMDs which all knew did not exist. It also took place while the BP-sponsored show I am Ashurbanipal: King of the World, King of Assyria‘ was nearing the end of its run. It’s a show which includes a number of looted objects from the area (which stretched from Egypt to the Persian Gulf), both from historical times when the BM was itself sending archealogists to the area and apparently some more recent acquisitions sold to dealers after Iraq was left in chaos and during the current conflict in Syria, bought with the aid of BP money.

While several hundred protesters gathered at the front of the Great Court, a small performance took place in the Assyrian galleries, and was then repeated in front of the entrance to the Assyrian exhibition. Meanwhile the main protest got under way, amd after an introductory rally people were lead to from a ring all around the Great Court, with posters all round.

The Great Court is a large area around the old former BM Reading Room (where my wife once worked) and is said to be the largest covered public square in Euripe, with an area of 3,692.5 square metres. I think the chain around it holding the banners must have been around 600 feet long, though only relatively small sections were visible from any one point.

This was something of a challenge to still photographers, and I walked around it several times taking pictures. Long banners are always a challenge in terms of the aspect ratio. Even if you frame the people holdina banner from head to toe working in landscape format, this only results in a horizontal field of view of around ten foot. To frame longer banners results in the people and the banner shrinking to a narrower strip across the image.

You can improve matters by photographing the banner from one side, filling the frame height with the nearest person or going in even closer, and this is often my approach. But as the make the viewpoint more oblique, the banner text becomes less and less legible. And legible text is important with banners.

My friend taking video had a simpler task and did it well, filming as he walked around the whole circle. A similar approach using still photography would have resulted in a print with a roughly 100:1 aspect ratio, and while it might have been possible to join up the banner, as you moved from exposure to exposure the backgrounds would change.

I did take a series of pictures from the top of the stairs overlooking the area in front of the Assyrian exhibition, where the banners were brought and people sat on the ground. Possibly taken together they would show the whole string of banners (though I think some were folded before they reached the display), but more than the two on My London Diary make rather tedious viewing.

End BP sponsorship at British Museum

There are no adverts on this site and it receives no sponsorship, and I like to keep it that way. But it does take a considerable amount of my time and thought, and if you enjoy reading it, please share on social media.
And small donations via Paypal – perhaps the cost of a beer – would be appreciated.

All photographs on this and my other sites, unless otherwise stated, are taken by and copyright of Peter Marshall, and are available for reproduction or can be bought as prints.

To order prints or reproduce images