statues

Sept. 24 (UPI) — The National Park Service on Wednesday removed bronze-colored statues of President Donald Trump and convicted sex offender Jeffrey Epstein holding hands and frolicking on the National Mall in Washington, D.C.

The papier-mache and paint statues were erected on Tuesday by an anonymous group called The Secret Handshake, UPI reported. The statues were near U.S. governmental buildings with the Capitol in the backdrop.

“We celebrate the long-lasting bond between President Donald J. Trump and his ‘closest friend,’ Jeffrey Epstein,” the middle plaque reads. “There must be more to life than having everything.”

A member of the group behind the statue told MSNBC that U.S. Park Police took down the statue around 5:30 a.m. EDT, although they had a permit that allowed them to remain through Sunday evening. CNN also confirmed the removal.

The group said it had initially been told it would be given 24 hours’ notice if the administration wanted it removed.

“Instead, they showed up in the middle of the night without notice and physically toppled the statue, broke it and took it away,” the group said.

The permit is for a 6-foot-tall statue, but the display is taller than that when combined with its base, which is almost as tall.

A spokesperson for the Department of the Interior, which oversees the Park Service, told MSNBC, “the statue was removed because it was not compliant with the permit issued.”

In a statement to Time magazine, the White House said, “Liberals are free to waste their money however they see fit — but it’s not news that Epstein knew Donald Trump, because Donald Trump kicked Epstein out of his club for being a creep.”

Trump is displayed with another plaque quoting the infamous 50th birthday card to Epstein, which reads in part, “A pal is a wonderful thing. Happy birthday — and may every day be another wonderful secret.”

Epstein’s plaque reads: “Nor will I, since I also know what it is. Yes, we do come to think of it. As a matter of fact, it was clear to me the last time I saw you.”

Epstein died by suicide in jail on Aug. 10, 2019, while awaiting trial on federal charges of sex trafficking. He had been convicted on state charges of soliciting prostitution in Florida in 2008.

Tourists stopped before the statues out of curiosity and lined up to take photos.

“I think it’s a really good reminder about how artists are the ones that always push back on fascists first, on fascist governments,” D.C. resident Matt Gordon told UPI on Tuesday.

“This is a hoot,” D.C. resident Lelaina Brandet also told UPI. “It seems there’s other daily distractions, whether calling a marginalized group a terrorist organization or attacking some random vote to distract from what pretty much everybody from both sides wants — which is to see the release of the Epstein files.”

One week ago, a 12-foot golden Trump statue whose faceplate called him the “Bitcoin president” was displayed anonymously at the same location for about a day before being taken down.

“It is great to have these artists that keep pushing the focus of ‘Hey, let’s not forget this is what America wants right now.’ We love it. It’s fantastic,” resident Brandet said.

In 2024, the group’s “The Resolute Desk” and “The Donald J. Trump Enduring Flame” statues went viral. In June, their “Dictator Approved” statue and another of a golden television appeared.

“Before this, they’ve never been anything but friendly to work with,” Patrick and Carol Flaisher, an independent contractor who files the group’s permits, told CNN.

The group said they were able to view the removed statues. Trump’s head was split in half.

“It’s a great example of where we’re headed in this country when it comes to freedom of speech,” Patrick said.

Last week, a giant banner with Trump and Epstein was unveiled on the lawn outside Windsor Castle, where Trump was hosted by King Charles III and Queen Camilla. The banner was removed before Trump arrived in Britain.

Protesters then projected images of them on the walls of Windsor Castle. Also targeted was Prince Andrew, who was associated with Epstein.

Possible ways to mitigate the risk include armouring the coastline and building breakwaters to relocating the monuments.

The Journal of Cultural Heritage has published a new study indicating that rising sea levels could push powerful seasonal waves into Easter Island’s 15 iconic moai statues, in the latest potential peril to cultural heritage from climate change.

“Sea level rise is real,” said Noah Paoa, lead author of the study published on Wednesday and a doctoral student at the University of Hawaii at Manoa’s School of Ocean and Earth Science and Technology. “It’s not a distant threat.”

About 50 other cultural sites in the area are also at risk from flooding.

Paoa, who is from Easter Island – a Chilean territory and volcanic island in Polynesia known to its Indigenous people as Rapa Nui – and his colleagues built a high-resolution “digital twin” of the island’s eastern coastline and ran computer models to simulate future wave impacts under various sea level rise scenarios. They then overlaid the results with maps of cultural sites to pinpoint which places could be inundated in the coming decades.

The findings show waves could reach Ahu Tongariki, the largest ceremonial platform on the island, as early as 2080. The site, home to the 15 towering moai, draws tens of thousands of visitors each year and is a cornerstone of the island’s tourism economy.

Beyond its economic value, the ahu is deeply woven into Rapa Nui’s cultural identity. It lies within Rapa Nui National Park, which encompasses much of the island and is recognised as a UNESCO World Heritage Site.

The roughly 900 moai statues across the island were built by the Rapa Nui people between the 10th and 16th centuries to honour important ancestors and chiefs.

The threat isn’t unprecedented. In 1960, the largest earthquake ever recorded – a magnitude 9.5 off the coast of Chile – sent a tsunami surging across the Pacific. It struck Rapa Nui and swept the already-toppled moai further inland, which damaged some of their features. The monument was restored in the 1990s.

While the study focuses on Rapa Nui, its conclusions echo a wider reality: Cultural heritage sites worldwide are increasingly endangered by rising seas. A UNESCO report published last month found that about 50 World Heritage sites are highly exposed to coastal flooding.

A UNESCO spokesperson told The Associated Press news agency that climate change is the biggest threat to UNESCO’s World Heritage marine sites. “In the Mediterranean and Africa, nearly three-quarters of coastal low-lying sites are now exposed to erosion and flooding due to accelerated sea level rise.”

Possible defences for Ahu Tongariki range from armouring the coastline and building breakwaters to relocating the monuments.

Paoa hopes that the findings will bring these conversations about now, rather than after irreversible damage. “It’s best to look ahead and be proactive instead of reactive to the potential threats.”

Sunrise with ancient gods in Anatolia

Rising from the rugged heart of Anatolia, Mount Nemrut offers one of the world’s most surreal sunrise experiences. Here, colossal stone heads of ancient gods and kings gaze silently across the highlands, remnants of a long-lost kingdom. As the first rays of dawn paint the statues gold, visitors are transported into an almost mythic realm. Begin your journey in Gaziantep, often called Turkey’s culinary capital. Savour rich baklava and spicy kebabs before setting out through the hills toward Nemrut. After experiencing the mountain’s majesty, continue to Göbekli Tepe – considered the world’s oldest temple complex, predating Stonehenge by millennia.
Ickin Vural

Join the locals and eat at a büfe

It’s become a little more expensive in Turkey recently, so my tip is: eat at the büfeler, where the taxi drivers eat. You find them at every bus station in every town and village. A light lunch of rice with kuru fasulye (beans) on top, perhaps a side of vegetable stew (despite all those kebab shops, Turkish people don’t eat as much meat as we like to think), and an ayran (yoghurt drink) on the side would be my idea of a perfect lunch. Afiyet olsun! (enjoy your meal), as they say in Turkey.
Anna

Exploring the vibrant city of Eskişehir

Eskişehir is a vibrant, studenty city less than an hour and a half’s train ride from Ankara. Its name (“old city”) is a clue to the age of the place – it was founded around 1,000BC – but unlike some of the much more visited ruins and ancient cities in Turkey, it is very much a forward-looking, 21st-century place. The Odunpazarı houses in the oldest part of the city are beautifully multicoloured – it is a perfect area to enjoy an obligatory Turkish coffee and piece of lokum (Turkish delight).
Michael Kuipers

Authentic Turkish charmers near Ephesus

Discover two gems near exquisite Ephesus: Alaçatı, on the coast near İzmir, is a picturesque, sleepy village complete with fresh fish restaurants and sandy beaches; a bit further south is Şirince, a beautiful flower village that stays fresh even through July heatwaves. You can explore the coast, visit thermal baths in spectacular Pamukkale, and Ilıca, or head to the Greek island of Samos for the day, while still savouring the joy of a simpler and more authentic Turkey.
Thomas

Lesser visited Lycian ruins around Kaş

Just above the popular seaside town of Kaş, tucked high in the hills, lie the ancient ruins of Phellos. The steep hike can be tough – especially in the heat – but the reward is worth it. Massive Lycian tombs and weathered stone ruins appear unexpectedly, like a scene from Indiana Jones. With no crowds or noise, it’s an off-the-beaten-track adventure into ancient history. If you’re seeking something beyond beaches and tourist spots, Phellos offers solitude, mystery and a stunning glimpse into a forgotten world.
Pinar Greenwood

Mardin’s heady mix and sweeping views

My top secret Turkey tip would be Mardin, in the south-east. Honey-coloured houses on a hilltop cascade down to the Mesopotamian plateau, and just about every hotel has a terrace with sweeping views across to Syria. The history is a mix of Assyrian, Armenian, Chaldean and, of course Turkish, with museums, medreses and narrow streets. It’s a taste of the Middle East but with the safety of travel in Turkey. And the food …
Ann Ozsivadjian

Chilled dining in Antalya’s waterside retreat

The Dim River lies on the outskirts of Alanya, in the Antalya region. A short taxi or bus ride will transport you from the bustling seaside town to a cascading waterfall which flows from the Taurus mountains to the Mediterranean Sea. Trees and natural vegetation provide shelter from the searing summer sun, while the waterside restaurants offer traditional Turkish food and drinks. Relax at tables nestled in the trees, perch at the water’s edge, or take a dip in a pool filled with icy mountain water – if you dare!
Natalie

Paddling off the Lycian coast from Fethiye

Sea kayaking along Turkey’s wild south-west coast from Fethiye is an unforgettable experience. Paddle past hidden coves, ancient ruins and dramatic cliffs, before friendly local guides prepare delicious traditional Turkish meals, and the sunsets glow deep red over crystal waters. Fethiye is a culturally rich town nestled between mountains and the sea, and the perfect launch point for a trip. If you’re after beauty, solitude and authentic connection, this is paradise.
Mikey

Hike to stunning ancient Termessos

We visited Antalya in February, and viewing some of the ancient sites on a crisp, sunny day with snow on the mountains in the background was brilliant. But the highlight of our trip was taking a hike in the Mount Güllük-Termessos national park to see the ancient Solymi city of Termessos, and particularly the stunning theatre, set atop the mountain with panoramic views. You pass many interesting ruins on the way up, but this is the jewel in the crown. We went on our own, but if you want to make a day of it I’d suggest joining a hiking group for an in-depth exploration.
Alison

Winning tip: timeless charm at Akyaka

On a spontaneous road trip through Turkey’s south-west, I stumbled upon Akyaka – a peaceful, pine-fringed village untouched by mass tourism. The Azmak River, so clear it seemed unreal, flowed past riverside cafes where I watched turtles drift by. Locals welcomed me like family, and evenings meant fresh seafood and golden sunsets. The architecture – wooden houses with carved balconies – gave the town a timeless charm. Paddleboarding on the calm sea at sunrise was a moment I’ll never forget. Debbie Skudra

Bangkok, Thailand – Over several years in the mid-1960s, the crumbling ruins of an ancient temple in northeast Thailand were picked clean by local looters.

Possibly hundreds of centuries-old statues that were long buried beneath the soft, verdant grounds around the temple were stolen.

To this day, all the known artefacts from the pillaging spree, collectively known as the Prakhon Chai hoard, sit scattered thousands of miles away in museums and collections across the United States, Europe and Australia.

In a matter of weeks, though, the first of those statues will begin their journey home to Thailand.

The acquisitions committee of San Francisco’s Asian Art Museum recommended the release last year of four bronze statues from the hoard, which had been held in its collection since the late 1960s.

San Francisco city’s Asian Art Commission, which manages the museum, then approved the proposal on April 22, officially setting the pieces free.

Some six decades after the late British antiquities dealer Douglas Latchford is suspected of spiriting the statues out of the country, they are expected to arrive back in Thailand within a month or two.

“We are the righteous owners,” Disapong Netlomwong, senior curator for the Office of National Museums at Thailand’s Fine Arts Department, told Al Jazeera.

“It is something that our ancestors … have made, and it should be exhibited here to show the civilisation and the belief of the people,” said Disapong, who also serves on Thailand’s Committee for the Repatriation of Stolen Artefacts.

The imminent return of the statues is the latest victory in Thailand’s quest to reclaim its pilfered heritage.

Their homecoming also exemplifies the efforts of countries across the world to retrieve pieces of their own stolen history that still sit in display cases and in the vaults of some of the West’s top museums.

From Thai temples to the Acropolis in Athens

Latchford, a high-profile Asian art dealer who came to settle in Bangkok and lived there until his death in 2020 at 88 years of age, is believed to have earned a fortune from auction houses, private collectors and museums around the world who acquired his smuggled ancient artefacts from Thailand and neighbouring Cambodia.

In 2021, Latchford’s daughter, Nawapan Kriangsak, agreed to return her late father’s private collection of more than 100 artefacts, valued at more than $50m, to Cambodia.

Though never convicted during his lifetime, Latchford was charged with falsifying shipping records, wire fraud and a host of other crimes related to antiquities smuggling by a US federal grand jury in 2019.

He died the following year, before the case against him could go to trial.

In 2023 the Metropolitan Museum of Art in New York agreed to return 16 pieces tied to Latchford’s smuggling network to Cambodia and Thailand.

San Francisco’s Asian Art Museum has also previously returned pieces to Thailand – two intricately carved stone lintels taken from a pair of temples dating back to the 10th and 11th centuries, in 2021.

While Thailand and Cambodia have recently fared relatively well in efforts to reclaim their looted heritage from US museum collections, Greece has not had such luck with the British Museum in London.

Perhaps no case of looted antiquities has grabbed more news headlines than that of the so-called “Elgin Marbles”.

The 2,500-year-old friezes, known also as the Parthenon Marbles, were hacked off the iconic Acropolis in Athens in the early 1800s by agents of Lord Elgin, Britain’s ambassador to the Ottoman Empire, which controlled Greece at that time.

Elgin claimed he took the marbles with the permission of the Ottomans and then sold them in 1816 to the British Museum in London, where they remain.

Greece has been demanding the return of the artefacts since the country’s declaration of independence in 1832 and sent an official request to the museum in 1983, according to the nongovernmental Hellenic Institute of Cultural Diplomacy.

“Despite all these efforts, the British government has not deviated from its positions over the years, legally considering the Parthenon marbles to belong to Britain. They have even passed laws to prevent the return of cultural artefacts,” the institute said.

‘Colonialism is still alive and well’

Tess Davis, executive director of the Antiquities Coalition, a Washington-based nonprofit campaigning against the illicit trade of ancient art and artefacts, said that “colonialism is still alive and well in parts of the art world”.

“There is a mistaken assumption by some institutions that they are better carers, owners, custodians of these cultural objects,” Davis told Al Jazeera.

But Davis, who has worked on Cambodia’s repatriation claims with US museums, says the “custodians” defence has long been debunked.

“These antiquities were cared for by [their] communities for centuries, in some cases for millennia, before there was … a market demand for them, leading to their looting and trafficking, but we still do see resistance,” she said.

Brad Gordon, a lawyer representing the Cambodian government in its ongoing repatriation of stolen artefacts, has heard museums make all sorts of claims to defend retaining pieces that should be returned to their rightful homelands.

Excuses from museums include claiming that they are not sure where pieces originated from; that contested items were acquired before laws banned their smuggling; that domestic laws block their repatriation, or that the ancient pieces deserve a more global audience than they would receive in their home country.

Still, none of those arguments should keep a stolen piece from coming home, Gordon said.

“If we believe the object is stolen and the country of origin wishes for it to come home, then the artefact should be returned,” he said.

Old attitudes have started breaking down though, and more looted artefacts are starting to find their way back to their origins.

“There’s definitely a growing trend toward doing the right thing in this area, and … I hope that more museums follow the Asian Art Museum’s example. We’ve come a long way, but there’s still a long way to go,” Davis said.

Much of the progress, Davis believes, is down to growing media coverage of stolen antiquities and public awareness of the problem in the West, which has placed mounting pressure on museums to do the right thing.

In 2022, the popular US comedy show Last Week Tonight with John Oliver dedicated a whole episode to the topic. As Oliver said, if you go to Greece and visit the Acropolis you might notice “some odd details”, such as sections missing from sculptures – which are now in Britain.

“Honestly, if you are ever looking for a missing artefact, nine times out of 10 it’s in the British Museum,” Oliver quips.

Gordon also believes a generational shift in thinking is at play among those who once trafficked in the cultural heritage of other countries.

“For example, the children of many collectors, once they are aware of the facts of how the artefacts were removed from the country of origin, want their parents to return them,” he said.

Proof of the past

The four bronze statues the San Francisco museum will soon be returning to Thailand date back to the 7th and 9th centuries.

Thai archaeologist Tanongsak Hanwong said that period places them squarely in the Dvaravati civilisation, which dominated northeast Thailand, before the height of the Khmer empire that would build the towering spires of Angkor Wat in present-day Cambodia and come to conquer much of the surrounding region centuries later.

Three of the slender, mottled figures, one nearly a metre tall (3.2 feet), depict Bodhisattva – Buddhist adherents on the path to nirvana – and the other the Buddha himself in a wide, flowing robe.

Tanongsak, who brought the four pieces in the San Francisco collection to the attention of Thailand’s stolen artefacts repatriation committee in 2017, said they and the rest of the Prakhon Chai hoard are priceless proof of Thailand’s Buddhist roots at a time when much of the region was still Hindu.

“The fact that we do not have any Prakhon Chai bronzes on display anywhere [in Thailand], in the national museum or local museums whatsoever, it means we do not have any evidence of the Buddhist history of that period at all, and that’s strange,” he said.

The Fine Arts Department first wrote to San Francisco’s Asian Art Museum about the statues’ illicit provenance in 2019, but started to make progress on having them returned only when the US Department of Homeland Security got involved on Thailand’s behalf.

Robert Mintz, the museum’s chief curator, said staff could find no evidence that the statues had been trafficked in their own records.

But they were convinced they had been looted and smuggled out of Thailand – and of Latchford’s involvement – once Homeland Security provided proof, with the help of Thai researchers.

“Once that evidence was presented and they heard it, their feeling was the appropriate place for these would be back in Thailand,” Mintz said of the museum’s staff and acquisition committee.

‘Pull back the curtain’

The San Francisco Asian Art Museum went a step further when it finally resolved to return the four statues to Thailand.

It also staged a special exhibit around the pieces to highlight the very questions the experience had raised regarding the theft of antiquities.

The exhibition – Moving Objects: Learning from Local and Global Communities – ran in San Francisco from November to March.

“One of our goals was to try to indicate to the visiting public to the museum how important it is to look historically at where works of art have come from,” Mintz said.

“To pull back the curtain a bit, to say, these things do exist within American collections and now is the time to address challenges that emerge from past collecting practice,” he said.

Mintz says Homeland Security has asked the Asian Art Museum to look into the provenance of at least another 10 pieces in its collection that likely came from Thailand.

Tess Davis, of the Antiquities Coalition campaign group, said the exhibition was a very unusual, and welcome, move for a museum in the process of giving up looted artefacts.

In Thailand, Disapong and Tanongsak say the Asian Art Museum’s decision to recognise Thailand’s rightful claim to the statues could also help them start bringing the rest of the Prakhon Chai hoard home, including 14 more known pieces in other museums around the US, and at least a half-dozen scattered across Europe and Australia.

“It is indeed a good example, because once we can show the world that the Prakhon Chai bronzes were all exported from Thailand illegally, then probably, hopefully some other museums will see that all the Prakhon Chai bronzes they have must be returned to Thailand as well,” Tanongsak said.

There are several other artefacts besides the Prakhon Chai hoard that Thailand is also looking to repatriate from collections around the world, he said.

Davis said the repatriation of stolen antiquities is still being treated by too many with collections as an obstacle when it should be seen, as the Asian Art Museum has, as an opportunity.

“It’s an opportunity to educate the public,” Davis said.

“It’s an opportunity to build bridges with Southeast Asia,” she added, “and I hope other institutions follow suit.”