The work of Greek sculptor Frosso Efthymiadi-Menegaki, entitled Iketides (“The Suppliants”) (1958), was presented at a high-level event held at the United Nations Headquarters in New York on February 24, 2025. The event marked the beginning of Greece’s term on the United Nations Security Council for the period 2025–2026, which started on January 1, 2025. The sculpture is on display at the Visitors’ Lobby - Poseidon area of the United Nations Headquarters and is part of the collection of the National Gallery – Alexandros Soutsos Museum (cover photo). It is being presented for the first time in the United States.

The event was hosted by the Minister of Foreign Affairs, Mr. George Gerapetritis, who officially announced the beginning of Greece’s term on the United Nations Security Council. It was attended by a large number of high-ranking UN officials, Permanent Representatives, and other representatives of member states. Also present were the Minister of Culture, Lina Mendoni, and the Director of the National Gallery – Alexandros Soutsos Museum, Syrago Tsiara.

Greece was elected, on June 6 2024, as a non-permanent member of the United Nations Security Council for the 2025-2026 term with the support of 182 states. This marks the third time Greece will hold a seat on the Security Council, following previous terms in 1952-1953 and 2005-2006. Three Greek words of universal meaning, starting with the letter D, will guide Greece’s term on the United Nations Security Council: Dialogue: the act of exchanging reasonable arguments, Diplomacy: rooted in the Greek word for two, diplomacy is in essence the dialogue between two parts, and Democracy: it literally means power of the people. (https://greeceforunsc.mfa.gr/).

Frosso Efthymiadi-Menegaki , Supplicants, (1958), Hammered iron, 92 x 42 x 16 cm, Athens National Gallery (left), Frosso Efthymiadi working at “Bird”, photograph from her personal archive  (Source: Athens National Gallery) (right)

Frosso Efthymiadi-Menegaki (Istanbul, 1911 – Athens, 1995) moved to Athens with her family in 1922. From 1930 to 1933, she studied pottery at the Vienna Arts and Crafts School under Michael Powolny and Robert Obsieger. Upon returning to Athens in 1933, she visited regions where ancient Greek potters worked, collecting a wide variety of clay types. In 1945, she went to Paris to work with Marcel Gimond. Between 1947 and 1949, she lived in Argentina, where she studied Inca and Indo art and culture. In June 1949, she returned to Greece. From 1953 to 1967, she traveled once again to America, as well as Egypt, Japan, India, Thailand, Bali, China, Cambodia, Java, Iraq, Nepal, and Iran. In 1974, the Academy of Athens honored her for her work, and in 1980, she became the first woman nominated as an Academy member.

Frosso Efthymiadi-Menegaki, Girl with Dove, (1951), Painted terracotta, 82 x 23,5 x 17,5 cm (left), Nymph, (1960), Hammered brass, 138 x 67 x 43,6 cm (middle), Sprite, (1960), Hammered brass, 140 x 82 x 58 cm (right), Athens National Gallery

Until around the mid-1950s, Frosso Efthymiadi worked exclusively with clay, creating busts, full figures, vases, figurines, and, above all, a substantial number of animal sculptures. In fact, she is considered the first sculptor in Greece to pursue animal sculpture. In 1955, she shifted to working with metal, simultaneously abandoning her realistic style and adopting a freer approach. Using electric or oxyacetylene welding to join bronze or iron plates and rods, which she forged herself, she created abstract compositions within the same thematic field, either static or in motion, in which the void plays a prominent role.

Frosso Efthymiadi-Menegaki, Owl, (after 1959), Hammered copper, 18 x 42 x 25 cm, Athens National Gallery

Frosso Efthymiadi-Menegaki, Animals of the Andes, (1954), Hammered iron, 120 x 98 x 34 cm (left), Owl, (before 1959), Hammered iron and welded copper, 26 x 40,5 x 27 cm (right), Athens National Gallery

Her work has been featured in solo exhibitions in Greece and around the world. She also participated in group and international events, including Panhellenic exhibitions, the 1955 International Ceramics Fair in Cannes, contemporary sculpture exhibitions at the Musée Rodin in 1956 and 1961, the 1965 International Sculpture Panathenaia exhibition in Athens, and the New York World’s Fair in the same year. Additionally, she exhibited at the Paris Salons de la Jeune Sculpture in 1968 and 1969, the 1959 São Paulo Biennale, where she won first prize, and the 1965 Alexandria Biennale. (Source: Athens National Gallery)

Frosso Efthymiadi-Menegaki, Minerva, (1961), Hammered copper, 36 x 33 x 16 cm (left), Bird, (c. 1959), Hammered brass, 126,5 x 113,5 x 38 cm (right), Athens National Gallery

Display at the sculptress’s home studio (Source: Athens National Gallery)

Frosso Eftymiadi’s sculptural work "Supplicants", presented at the United Nations Headquarters in New York, draws its inspiration from Aeschylus' tragedy and expresses timeless and universal issues, such as resistance to injustice, recognition of human dignity and the protection of vulnerable individuals.

The Director of the National Gallery, Syrago Tsiara, while presenting the sculpture to the public, spoke about the history and significance of the “Supplicants”, highlighting the power of the work that manages to convey, through the artist’s impeccable technique, the deepest meanings of ancient Greek tragedy, while simultaneously highlighting the timelessness and influence of Greek art from antiquity to modern times (Source: National Gallery).

The suppliants (1964), dir. A. Solomos, photo by: D. Harisiadis, Source: Photographic archive of the National Theater of Greece

The play (the first and only surviving play from Aeschylus’ Danaid Tetralogy) was probably first performed a few years before the Oresteia, which was brought out in 458 BC. It features a collective female character: the Chorus of the fifty Danaïdes who, together with their father Danaus, abandon Libya and Egypt and seek asylum in the city of Argos…The Danaid Suppliants speak of the needs that lead people to uproot themselves from their land, the fierce fate of the refugee, the value of justice, the principles of democracy. Above all, they speak of the Woman’s struggle against the Man who seeks to force himself on her. (Source: Athens Epidaurus Festival)

The suppliants (2024), Greek Art Theatre Karolos Koun - Neos Kosmos Theatre, dir. Marianna Kalbari, Athens Epidaurus Festival

Read also:

Greece at the United Nations Security Council for 2025-2026

Greek Pavilion at the Venice Biennale: A Laboratory of Dilemmas

I.A.

The post Greek Sculpture Meets Diplomacy: Frosso Efthymiadi’s “Iketides” at the UN appeared first on Greek News Agenda.

Greece has begun its two-year term as a non-permanent member of the United Nations Security Council on January 1^st 2025. On December 6, the 79th Plenary Session of the UN General Assembly adopted by consensus the Resolution on “Return or Restitution of Cultural Property to the Countries of Origin” spearheaded by Greece, with 146 co-sponsorships. This represents the highest number achieved to date and was the first occasion on which all 27 EU Member States, co-sponsored the resolution. highlighting EU unity on such a sensitive political issue.

“It is of the utmost importance for us all to recognize that the protection of human life will always remain our primary concern, but that respect for a people’s cultural identity is also vital. While human life is of greater importance than objects, it is nevertheless necessary to respect the rules for the protection of cultural property, as it is the collective memory of humanity and symbolizes human life itself,” explained Ambassador Evangelos C. Sekeris, the Permanent Representative to the United Nations addressing the Assembly.

The resolution aims at achieving interstate cooperation in protecting cultural property against illicit trafficking in times of peace and war, as well as establishing a common framework of respect for tangible and intangible cultural heritage. Practically speaking, member states will be required to ensure documented proof of origin and provide certificates for cultural goods traded internationally, including those traded online. 

Throughout the years, the UN and UNESCO in particular have played a pivotal role in combating illicit trafficking and promoting the return of cultural property. This is being done through initiatives such as the 1970 UNESCO Convention (on the Means of Prohibiting and Preventing the Illicit Import, Export and Transfer of Ownership of Cultural Property) and partnerships with INTERPOL and other organizations.

Going one step further, the newly adopted Resolution expresses serious concern about cultural property removed before the 1970 Convention and calls for its return.  It also encourages the return and restitution of stolen and illegally possessed cultural property to their historic environment.

This Greek initiative is a remarkable diplomatic success given the fact that Resolutions tabled by only one country are rarely adopted by such a large number of co-sponsors. The cross-regional support of the Resolution, with a wide and diverse group of co-sponsoring member states, illustrates the change in attitude on the issue of the return or restitution of cultural property and the high visibility this has gained in recent years.  It is also a very promising beginning for Greece’s tenure as a non-permanent in the Security Council, starting January 2025. 

Protection of world cultural heritage and the Restitution of the Parthenon Sculptures

Recently, Greek Minister of Culture Lina Mendoni addressed the International Symposium titled "Old and New Threats to Global Cultural Heritage: The Role of Prevention," (16.12.2024) organized by the Ministry of Culture to mark the 70th anniversary of the Hague Convention (1954) and the 25th anniversary of its Second Protocol (1999). The event, hosted at the War Museum of Athens, highlighted the significance of international collaboration in safeguarding cultural heritage from evolving threats.  Minister Mendoni emphasized that cultural heritage protection is a top priority for Greece, both tangible and intangible, regardless of its geographic location or historical depth. She underlined Greece’s successful efforts in repatriating illegally exported artifacts, achieved through a coherent policy and the use of institutional tools. Mendoni reiterated that new and complex threats to heritage transcend borders and often occur even in times of peace, making international cooperation vital for effective prevention.  

A meeting between Greek Prime Minister Kyriakos Mitsotakis and UK Prime Minister Sir Keir Starmer (3.12.2025) has reignited discussions in the UK media about the potential return of the Parthenon Sculptures to Greece. Greek officials emphasize that the Sculptures were taken unlawfully and are integral to Greece’s heritage, pushing for their permanent return.

The sculptures are part of a 2,500-year-old frieze that was taken from the Acropolis in the early 19th century by British diplomat Lord Elgin and put on display in the British Museum. Athens says they were removed illegally and wants them returned so they can be displayed alongside the rest of the Parthenon Sculptures at the Acropolis Museum in Athens.

The British Museum is banned by law from giving the sculptures back to Greece, but extensive talks have been held on a long-term loan arrangement. According to sources quoted by British news publication the Guardian, “It is envisaged that any agreement will be underpinned by a cultural partnership between the two countries, with the sculptures returned to Athens and reunited with other pieces currently on display at the Parthenon galleries of the Acropolis Museum – in exchange for blockbuster art works that will take centre stage in rolling exhibitions in London.”  Public opinion in the UK appears to favor the  return of the Parthenon Sculptures to Greece, a, with a YouGov poll showing 53% support for their return.

I.L. with information from News and Documentation Bulletin, Department of Analysis and Research, Directorate E2 of International Communication, Greek Ministry of Foreign Affairs.

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