First it was Van Gogh’s “Sunflowers”, which were “bathed” in tomato soup, and then the puree was thrown into Monet’s “Sails”. In Belgium, two activists recently stuck the head and arm of Vermeer’s “Girl with a Pearl Earring”, earning two months in prison, while the latest victim was in Rome: “The Sower” is also Van Gogh, also “beaten” with soup.

The works were protected, but museums were concerned about recent climate change activity. The debate began in Greece as well.

What do museums do to protect their works? Gallery Director, Sirago Chiara, tells us that the security measures in the new museum building are designed to meet the latest safety standards. “They involve an integrated 24-hour electronic monitoring system, the activation of infrared safety beams when a visitor approaches less than the allowed distance, an audible warning, as well as human resources that are responsible for protection,” he points out. out, adding that there is no complacency. In an ideal situation, he would not want any obstacles to the unhindered viewing of any work of art. “However, reality and our responsibility to protect the cultural heritage we protect sometimes imposes this,” he concludes.

OUR Kyriakos Koutsomallis, Director of the Goulandris Foundation, emphasizes that the technical security devices used in the foundation’s museum of contemporary art comply with museographic requirements. “And the human supervisory staff of guards is constantly trained, so that, as far as possible, vigilance becomes an obsession that does not give a single moment of respite,” he notes and adds that museums are obliged to protect works, “without exaggeration” so as not to cut off the spirit of the creator from the visitor.

“The most fragile and valuable pieces of the collection are already in secret cases,” says G. Magginis.

Due to recent vandalism, the Benaki Museum and security have been busy, according to the director. Giorgis Magginis, have been trained to deal with such cases. “The most fragile and valuable pieces of the collection are already in safes, such as two important works by Domenikos Theotokopoulos,” he tells us and hopes that the museum will not be forced to carry out larger interventions.

From her side Maria Tsantsanoglu, Deputy General Manager of MOMus, notes to “K” that “all of the institution’s secret work is already in the museum’s safety plexiglass.” Some characteristic examples are paintings and drawings from the Costakis collection, works on paper from the Iola collection such as Andy Warhol’s Alexander the Great, rare drawings by Chris, and photographs by Fred Boisson in Thessaloniki. Museum of photography. Ms. Tsantsanoglu also emphasizes that the security company was informed about the activist actions in museums abroad, which took over the protection of the premises of MOMus, and monitoring has already been increased for installation projects that are freely presented in space.

The Theoharakis Foundation has a CCTV system, specially trained guards on every floor, and security bars at works considered more sensitive and valuable. However, after recent incidents at museums abroad – and apart from warning guards to be vigilant – the heads of the institution were unwilling to step up the measures. “Then you need to install safety glass and completely sterilize the art,” comments the director of the institution. Fotis Papatanasiou, and adds: “We hope that these actions will not be imitated in Greece. Instead of spoiling the little beauty that exists in this world, climate activists – such a serious problem – could show the ugliness.”