can be found here). Dealers claim that the freshly surfaced artefacts they handle come from antiquity elves deep in the heart of old Europe, investigative journalist Gilmore has a different idea:
The trouble is, as previous posts on this blog discussing the incidents used to present its case show, very little of it is actually as presented ... A lot of 'journalistic licence' has been taken here. How cynically is difficult to assess.
There is however a nice quote from Tasoula Hadjtofi (London):
"Destruction and looting of cultural heritage is something that has been happening for centuries, the issue is ... we must not buy them. If we can make the link and we say when you buy looted art you are paying money to extremists to bomb you, perhaps the message is more clear".
The seizure of a lintel from a Grays antique centre dealer by Scotland Yard (42:42) is described as "one small victory in this vast invisible war" (43:01). The film concludes:
I think of Amr and the 'monuments men' on the front lines (43:10), I think of 'The Turk' and the institutional corruption that sweeps truth under the rug, this black market in looted antiquities is larger, more complex, more insidious than I ever imagined but what can we do? Sure, ISIS should be prosecuted for war crimes, but buyers and dealers need to be named and shamed too. I feel it is high time we all become culture crime watchers (because a world with no regard for its heritage is not the kind of world I want to live in).So what of the people who earn their living as part of this 'insidious' market. What can we think of all those sealers and collectors who willingly participate and continue fund it? Would you let your daughter marry one? As for "naming and shaming", that is something Inigo Gilmore and his team assiduously avoid throughout this film. When and how do they propose making a start?
Vignette: Antiquity elves
Hat tip Dorothy L. King who first spotted it