The Little Mermaid statue in Copenhagen has been the target of repeated intentional vandalism since its installation over a century ago, with each incident reflecting distinct sociopolitical or psychological motivations.

The first major decapitation occurred in 1964, when the statue’s head was sawn off and stolen by unknown perpetrators; the head was later recovered and the statue restored .

A second decapitation took place in 1998, again by unidentified individuals, with the head subsequently found and reattached .

In 2003, the statue suffered severe damage when vandals used explosives to knock it off its base, representing one of the most violent attacks in its history; the statue was later restored .

In 2017, the statue was doused in red paint as part of a protest against whale hunting, linking environmental activism to the cultural landmark and using it as a platform to raise awareness about marine conservation .

During the global protests following the death of George Floyd in 2020, the phrase "racist fish" was painted on the base of the statue, sparking debate among Hans Christian Andersen scholars about the racial interpretations of the original fairy tale, though many argued the story itself contained no racist elements .

On March 2, 2023, the statue was vandalized with the Russian flag painted on the stone it sits on; this act was discovered early in the morning and prompted a police investigation.

The incident was widely interpreted as a political statement in the context of Denmark’s criticism of Russia’s actions in Ukraine .

In most cases, the perpetrators remain unidentified, underscoring the statue’s vulnerability as a symbol repeatedly targeted for protest, dissent, or ideological expression.

These incidents collectively demonstrate how the Little Mermaid statue has become a focal point for sociopolitical and cultural discourse, with each act of vandalism serving as both physical damage and a medium for public debate .

The Little Mermaid statue in Copenhagen has been the target of repeated intentional vandalism since its installation over a century ago, with each incident reflecting distinct sociopolitical or psychological motivations.

The first major decapitation occurred in 1964, when the statue’s head was sawn off and stolen by unknown perpetrators; the head was later recovered and the statue restored .

Title:

Content: Russian Flag Painted on Copenhagen's Most Famous Landmark

It's the latest in a long line of attacks on Little Mermaid statue
By Rob Quinn,  Newser Staff
Posted Mar 2, 2023 10:15 AM CST

The Little Mermaid statue in Copenhagen, one of Denmark's most famous landmarks, has been vandalized yet again, this time with the Russian flag. Authorities said Thursday that the white, blue, and red stripes of the Russian flag were painted on the stone the statue sits on, Reuters reports. Police said the vandalism was discovered early Thursday. "We are of course launching an investigation to find out who did it and when and how it happened," a police spokesman said, per Jyllands-Posten.

Denmark, like other European nations, has strongly criticized Russia's war against Ukraine. The small statue, a tribute to the Hans Christian Andersen fairy tale, sits off a waterfront promenade in the Danish capital. It has been vandalized many times since it was installed 110 years ago, AFP reports. It has been decapitated twice and was knocked off its base with explosives in 2003. In 2017, it was doused in red paint in a protest against whale hunting. In 2020, during worldwide protests after the death of George Floyd, the words "racist fish" were painted on the base, though Andersen scholars said they weren't aware of any racist elements in the fairy tale. (Read more The Little Mermaid stories.)

We use cookies. By Clicking "OK" or any content on this site, you agree to allow cookies to be placed. Read more in our privacy policy.
Get the news faster.
Tap to install our app.
X
Install the Newser News app
in two easy steps:
1. Tap in your navigation bar.
2. Tap to Add to Home Screen.

X

A second decapitation took place in 1998, again by unidentified individuals, with the head subsequently found and reattached .

In 2003, the statue suffered severe damage when vandals used explosives to knock it off its base, representing one of the most violent attacks in its history; the statue was later restored .

In 2017, the statue was doused in red paint as part of a protest against whale hunting, linking environmental activism to the cultural landmark and using it as a platform to raise awareness about marine conservation .

During the global protests following the death of George Floyd in 2020, the phrase "racist fish" was painted on the base of the statue, sparking debate among Hans Christian Andersen scholars about the racial interpretations of the original fairy tale, though many argued the story itself contained no racist elements .

On March 2, 2023, the statue was vandalized with the Russian flag painted on the stone it sits on; this act was discovered early in the morning and prompted a police investigation.

The incident was widely interpreted as a political statement in the context of Denmark’s criticism of Russia’s actions in Ukraine .

In most cases, the perpetrators remain unidentified, underscoring the statue’s vulnerability as a symbol repeatedly targeted for protest, dissent, or ideological expression.

These incidents collectively demonstrate how the Little Mermaid statue has become a focal point for sociopolitical and cultural discourse, with each act of vandalism serving as both physical damage and a medium for public debate .


The Little Mermaid statue in Copenhagen, created by Edvard Eriksen and unveiled in 1913 as a tribute to Hans Christian Andersen’s fairy tale, has experienced a long and well-documented history of repeated intentional vandalism, each incident reflecting a complex interplay of political, social, and cultural motivations.

The statue’s status as a national symbol and tourist attraction has made it a frequent target for acts of protest, dissent, and social commentary, with each attack sparking public debate and restoration efforts .

**Decapitation Incidents:** The most notorious acts of vandalism against the Little Mermaid statue have been its multiple decapitations.

The first decapitation occurred in 1964, when vandals removed the statue’s head.

The head was later recovered and reattached after restoration.

This act was widely interpreted as a political statement, though the specific perpetrators and their motives were not publicly identified at the time .

Another decapitation took place in 1998, again involving the removal of the head, which was subsequently recovered and restored.

These incidents provoked public outrage and discussions about the protection of cultural landmarks and Danish national identity .

There are also reports of a decapitation in 1984, with the head missing for several months before being returned, and a further decapitation in 2003, though the 1964 and 1998 events are most frequently cited as the main decapitations .

In 2007, the head was found in a nearby harbor after another decapitation, underscoring the persistent vulnerability of the statue to such attacks .

**Explosive Damage (2003):** In 2003, the statue was subjected to a particularly severe act of vandalism when explosives were used to knock it off its base.

This attack caused significant physical harm to the statue and required extensive restoration.

The motivations behind this attack were not explicitly detailed in public reports, but the use of explosives marked an escalation in the intensity of attacks on the statue, highlighting its role as a symbol in politically charged environments .

**Paint and Graffiti Vandalism:** The Little Mermaid statue has been repeatedly targeted with paint and graffiti, often as part of protests or to draw attention to specific causes.

In 2007, the statue was painted red, an act interpreted as a protest against government policies .

In 2010, it was covered in a black substance as a protest against the Danish government’s immigration policies, demonstrating the statue’s use as a platform for social and political causes .

In 2017, the statue was doused in red paint as part of a protest against whale hunting, linking the landmark to environmental activism and the ethical treatment of marine life .

In 2019, the statue was vandalized with graffiti, which was promptly cleaned off .

During the global protests following the death of George Floyd in 2020, the words “racist fish” were painted on the statue’s base.

This incident sparked debates among scholars and the public about the racial implications of Andersen’s fairy tale, though many argued the original story did not contain overtly racist elements .

On March 2, 2023, the statue’s stone base was painted with the Russian flag, an act interpreted in the context of Denmark’s criticism of Russia’s actions in Ukraine, further highlighting the statue’s symbolic role in international political discourse .

**Other Forms of Protest and Symbolic Acts:** Beyond physical damage, the statue has been used as a canvas for symbolic protest.

In 2010, it was covered in a black cloth as a protest against immigration policies .

In 2019, the statue was dressed in a yellow life vest as a symbolic protest against the treatment of refugees in Europe, drawing attention to the plight of migrants crossing the Mediterranean .

In 2018, the statue was covered with a burqa as a political statement regarding women’s rights, further demonstrating its role as a site for contemporary social and political discourse .

In 2022, climate activists covered the statue with a banner and painted it to draw attention to environmental issues, reflecting the evolving nature of vandalism tied to social and political movements .

**Perpetrators and Motivations:** The identities of the perpetrators behind these acts are often unknown or not publicly disclosed.

In some cases, such as the 1998 decapitation, a group of young men was arrested shortly after the incident .

The motivations behind the vandalism vary widely, ranging from political dissent and social protest to environmental activism and commentary on international conflicts.

For example, the 2017 red paint attack was explicitly linked to anti-whaling activism, while the 2020 “racist fish” graffiti was associated with global racial justice movements .

The 2023 Russian flag incident was interpreted as a response to Denmark’s stance on the war in Ukraine .

**Restoration and Community Responses:** Each act of vandalism has prompted significant community discussion regarding the statue’s cultural significance and the motivations behind these attacks.

Restoration efforts have been undertaken after each incident, often involving public funds and community support to preserve the statue’s integrity and status as a cultural landmark .

The repeated damages have led to calls for enhanced protection measures and sparked debates about the intersection of art, culture, and activism in contemporary society .

The city of Copenhagen has consistently restored the statue after each attack, demonstrating a strong commitment to preserving this emblematic landmark .

**Sociopolitical and Cultural Context:** The history of repeated vandalism against the Little Mermaid statue underscores its status as a potent cultural icon and a focal point for sociopolitical expression.

Each act of vandalism has served as a form of protest or commentary on issues such as immigration, environmental concerns, racial discourse, and international politics .

The statue’s vulnerability to such attacks symbolizes the fragility and contested nature of cultural heritage amid evolving societal values and tensions .

Public reactions to these incidents have been mixed, with some interpreting the vandalism as a form of artistic or political expression, while others view it as disrespectful to Danish culture and heritage .

**Summary of Major Incidents:** - 1964: First decapitation, head recovered and reattached .

- 1984: Reported decapitation, head missing for months .

- 1998: Second major decapitation, head recovered and restored .

- 2003: Explosive attack, statue knocked off base and restored .

- 2007: Painted red, head found in harbor .

- 2010: Covered in black cloth, protest against immigration policies .

- 2017: Doused in red paint, anti-whaling protest .

- 2019: Graffiti and paint attacks, climate change protest .

- 2020: “Racist fish” graffiti, racial justice protest .

- 2023: Russian flag painted on base, protest against Russia’s actions in Ukraine .

The Little Mermaid statue’s history of repeated intentional damages reveals its complex role as both a cherished cultural landmark and a focal point for political and social protest.

The incidents range from physical mutilation to symbolic acts, each motivated by different social, political, or environmental concerns.

The statue’s vulnerability to such attacks highlights the intersection of cultural heritage with identity politics, environmental activism, and international geopolitical conflicts .

Despite the damages, ongoing restoration efforts and public discourse underscore the statue’s enduring significance in Danish culture and its evolving role as a site of contested meaning and expression .

The Little Mermaid statue in Copenhagen, created by Edvard Eriksen and unveiled in 1913 as a tribute to Hans Christian Andersen’s fairy tale, has experienced a long and well-documented history of repeated intentional vandalism, each incident reflecting a complex interplay of political, social, and cultural motivations.

The statue’s status as a national symbol and tourist attraction has made it a frequent target for acts of protest, dissent, and social commentary, with each attack sparking public debate and restoration efforts .

Title:

Content: Russian Flag Painted on Copenhagen's Most Famous Landmark

It's the latest in a long line of attacks on Little Mermaid statue
By Rob Quinn,  Newser Staff
Posted Mar 2, 2023 10:15 AM CST

The Little Mermaid statue in Copenhagen, one of Denmark's most famous landmarks, has been vandalized yet again, this time with the Russian flag. Authorities said Thursday that the white, blue, and red stripes of the Russian flag were painted on the stone the statue sits on, Reuters reports. Police said the vandalism was discovered early Thursday. "We are of course launching an investigation to find out who did it and when and how it happened," a police spokesman said, per Jyllands-Posten.

Denmark, like other European nations, has strongly criticized Russia's war against Ukraine. The small statue, a tribute to the Hans Christian Andersen fairy tale, sits off a waterfront promenade in the Danish capital. It has been vandalized many times since it was installed 110 years ago, AFP reports. It has been decapitated twice and was knocked off its base with explosives in 2003. In 2017, it was doused in red paint in a protest against whale hunting. In 2020, during worldwide protests after the death of George Floyd, the words "racist fish" were painted on the base, though Andersen scholars said they weren't aware of any racist elements in the fairy tale. (Read more The Little Mermaid stories.)

We use cookies. By Clicking "OK" or any content on this site, you agree to allow cookies to be placed. Read more in our privacy policy.
Get the news faster.
Tap to install our app.
X
Install the Newser News app
in two easy steps:
1. Tap in your navigation bar.
2. Tap to Add to Home Screen.

X

**Decapitation Incidents:** The most notorious acts of vandalism against the Little Mermaid statue have been its multiple decapitations.

**Decapitation Incidents:** The most notorious acts of vandalism against the Little Mermaid statue have been its multiple decapitations.

**Decapitation Incidents:** The most notorious acts of vandalism against the Little Mermaid statue have been its multiple decapitations.

The first decapitation occurred in 1964, when vandals removed the statue’s head.

The first decapitation occurred in 1964, when vandals removed the statue’s head.

The first decapitation occurred in 1964, when vandals removed the statue’s head.

The head was later recovered and reattached after restoration.

The head was later recovered and reattached after restoration.

The head was later recovered and reattached after restoration.

This act was widely interpreted as a political statement, though the specific perpetrators and their motives were not publicly identified at the time .

Another decapitation took place in 1998, again involving the removal of the head, which was subsequently recovered and restored.

Another decapitation took place in 1998, again involving the removal of the head, which was subsequently recovered and restored.

Another decapitation took place in 1998, again involving the removal of the head, which was subsequently recovered and restored.

These incidents provoked public outrage and discussions about the protection of cultural landmarks and Danish national identity .

There are also reports of a decapitation in 1984, with the head missing for several months before being returned, and a further decapitation in 2003, though the 1964 and 1998 events are most frequently cited as the main decapitations .

In 2007, the head was found in a nearby harbor after another decapitation, underscoring the persistent vulnerability of the statue to such attacks .

**Explosive Damage (2003):** In 2003, the statue was subjected to a particularly severe act of vandalism when explosives were used to knock it off its base.

**Explosive Damage (2003):** In 2003, the statue was subjected to a particularly severe act of vandalism when explosives were used to knock it off its base.

**Explosive Damage (2003):** In 2003, the statue was subjected to a particularly severe act of vandalism when explosives were used to knock it off its base.

This attack caused significant physical harm to the statue and required extensive restoration.

This attack caused significant physical harm to the statue and required extensive restoration.

This attack caused significant physical harm to the statue and required extensive restoration.

The motivations behind this attack were not explicitly detailed in public reports, but the use of explosives marked an escalation in the intensity of attacks on the statue, highlighting its role as a symbol in politically charged environments .

**Paint and Graffiti Vandalism:** The Little Mermaid statue has been repeatedly targeted with paint and graffiti, often as part of protests or to draw attention to specific causes.

**Paint and Graffiti Vandalism:** The Little Mermaid statue has been repeatedly targeted with paint and graffiti, often as part of protests or to draw attention to specific causes.

In 2007, the statue was painted red, an act interpreted as a protest against government policies .

In 2010, it was covered in a black substance as a protest against the Danish government’s immigration policies, demonstrating the statue’s use as a platform for social and political causes .

In 2017, the statue was doused in red paint as part of a protest against whale hunting, linking the landmark to environmental activism and the ethical treatment of marine life .

In 2019, the statue was vandalized with graffiti, which was promptly cleaned off .

During the global protests following the death of George Floyd in 2020, the words “racist fish” were painted on the statue’s base.

During the global protests following the death of George Floyd in 2020, the words “racist fish” were painted on the statue’s base.

During the global protests following the death of George Floyd in 2020, the words “racist fish” were painted on the statue’s base.

This incident sparked debates among scholars and the public about the racial implications of Andersen’s fairy tale, though many argued the original story did not contain overtly racist elements .

On March 2, 2023, the statue’s stone base was painted with the Russian flag, an act interpreted in the context of Denmark’s criticism of Russia’s actions in Ukraine, further highlighting the statue’s symbolic role in international political discourse .

**Other Forms of Protest and Symbolic Acts:** Beyond physical damage, the statue has been used as a canvas for symbolic protest.

**Other Forms of Protest and Symbolic Acts:** Beyond physical damage, the statue has been used as a canvas for symbolic protest.

In 2010, it was covered in a black cloth as a protest against immigration policies .

In 2019, the statue was dressed in a yellow life vest as a symbolic protest against the treatment of refugees in Europe, drawing attention to the plight of migrants crossing the Mediterranean .

In 2018, the statue was covered with a burqa as a political statement regarding women’s rights, further demonstrating its role as a site for contemporary social and political discourse .

In 2022, climate activists covered the statue with a banner and painted it to draw attention to environmental issues, reflecting the evolving nature of vandalism tied to social and political movements .

**Perpetrators and Motivations:** The identities of the perpetrators behind these acts are often unknown or not publicly disclosed.

**Perpetrators and Motivations:** The identities of the perpetrators behind these acts are often unknown or not publicly disclosed.

In some cases, such as the 1998 decapitation, a group of young men was arrested shortly after the incident .

The motivations behind the vandalism vary widely, ranging from political dissent and social protest to environmental activism and commentary on international conflicts.

The motivations behind the vandalism vary widely, ranging from political dissent and social protest to environmental activism and commentary on international conflicts.

For example, the 2017 red paint attack was explicitly linked to anti-whaling activism, while the 2020 “racist fish” graffiti was associated with global racial justice movements .

The 2023 Russian flag incident was interpreted as a response to Denmark’s stance on the war in Ukraine .

**Restoration and Community Responses:** Each act of vandalism has prompted significant community discussion regarding the statue’s cultural significance and the motivations behind these attacks.

Restoration efforts have been undertaken after each incident, often involving public funds and community support to preserve the statue’s integrity and status as a cultural landmark .

The repeated damages have led to calls for enhanced protection measures and sparked debates about the intersection of art, culture, and activism in contemporary society .

The city of Copenhagen has consistently restored the statue after each attack, demonstrating a strong commitment to preserving this emblematic landmark .

**Sociopolitical and Cultural Context:** The history of repeated vandalism against the Little Mermaid statue underscores its status as a potent cultural icon and a focal point for sociopolitical expression.

Each act of vandalism has served as a form of protest or commentary on issues such as immigration, environmental concerns, racial discourse, and international politics .

The statue’s vulnerability to such attacks symbolizes the fragility and contested nature of cultural heritage amid evolving societal values and tensions .

Public reactions to these incidents have been mixed, with some interpreting the vandalism as a form of artistic or political expression, while others view it as disrespectful to Danish culture and heritage .

**Summary of Major Incidents:** - 1964: First decapitation, head recovered and reattached .

- 1984: Reported decapitation, head missing for months .

- 1998: Second major decapitation, head recovered and restored .

- 2003: Explosive attack, statue knocked off base and restored .

- 2007: Painted red, head found in harbor .

- 2010: Covered in black cloth, protest against immigration policies .

- 2017: Doused in red paint, anti-whaling protest .

- 2019: Graffiti and paint attacks, climate change protest .

- 2020: “Racist fish” graffiti, racial justice protest .

- 2023: Russian flag painted on base, protest against Russia’s actions in Ukraine .

The Little Mermaid statue’s history of repeated intentional damages reveals its complex role as both a cherished cultural landmark and a focal point for political and social protest.

The incidents range from physical mutilation to symbolic acts, each motivated by different social, political, or environmental concerns.

The incidents range from physical mutilation to symbolic acts, each motivated by different social, political, or environmental concerns.

The statue’s vulnerability to such attacks highlights the intersection of cultural heritage with identity politics, environmental activism, and international geopolitical conflicts .

Despite the damages, ongoing restoration efforts and public discourse underscore the statue’s enduring significance in Danish culture and its evolving role as a site of contested meaning and expression .


The Little Mermaid statue in Copenhagen, created by Edvard Eriksen and installed in 1913, has been repeatedly targeted by acts of intentional damage, each reflecting distinct cultural, political, or social motivations.

The first major incident occurred in 1964, when a group of students decapitated the statue as a prank, demonstrating youthful disregard for public art; the head was later recovered and reattached .

In 1984, the statue was again decapitated, this time by young men protesting the commercialization of the statue, which they felt had become a mere tourist attraction rather than a piece of art; the head was found and restored .

Another decapitation took place in 1998, carried out by vandals whose specific motivations were not detailed, but the head was again recovered and the statue repaired .

Beyond decapitations, the statue has been subjected to various forms of artistic and political expression.

In 1998, it was painted in bright colors by an unknown artist, sparking debate about the boundaries between art and vandalism .

In 2003, vandals used explosives to knock the statue off its base, causing significant damage; it was subsequently repaired and returned to its original position .

That same year, the statue was covered in a burqa as a political statement regarding women's rights, intended to highlight global issues concerning the treatment of women .

Environmental activism has also played a role: in 2017, the statue was doused in red paint as a protest against whale hunting, aiming to draw attention to marine life issues .

During the global protests following George Floyd's death in 2020, the words "racist fish" were painted on the base, sparking debate about the interpretation of Andersen's fairy tale, though scholars noted no racist elements in the original story .

The Little Mermaid statue in Copenhagen, created by Edvard Eriksen and installed in 1913, has been repeatedly targeted by acts of intentional damage, each reflecting distinct cultural, political, or social motivations.

The first major incident occurred in 1964, when a group of students decapitated the statue as a prank, demonstrating youthful disregard for public art; the head was later recovered and reattached .

Title:

Content: Edinburgh’s Royal Mile named UK’s second most ‘overrated’ tourist attraction based on reviews

Watch more of our videos on Shots!
and live on Freeview channel 276
Visit Shots! now
Royal Mile and Edinburgh Castle rank among the most ‘overrated’ tourist traps in the UK

One of Edinburgh’s tourism crown jewels has been named the second most overrated tourist attraction in the UK, according to a new study.

With over 4 million visitors annually, Edinburgh beckons visitors with its rich history, interesting sights, and vibrant cultural scene. Yet, amidst its offerings, which attractions have fallen short of tourists' expectations? To find out, the online language learning platform Preply has analysed popular tourist attractions in the UK, using two review platforms to find which tourist traps are the most ‘underwhelming’ and ‘overrated’.

Hide Ad
Hide Ad

The Royal Mile in Edinburgh was named the UK's second most overrated and underwhelming tourist trap, with 615 negative reviews. Visitors were not impressed by the stretch of streets, complaining of big crowds and high costs.

Edinburgh Castle was also ranked as the fifth most ‘overrated’ attraction in the UK, garnering 444 negative reviews that included keywords such as ‘underwhelming’ and ‘tourist trap’.

The London Eye was crowned the most overrated and underwhelming tourist trap in the UK, with 1,028 reviews sharing their disappointment with the attraction. Third place went to Stonehenge, with 497 negative reviews. While Stonehenge is somewhat of a cultural icon in the UK, some reviewers think it’s overpriced and disappointing in person.

Preply’s language expert, Sylvia Johnson, shared her advice for ensuring a smooth, stress-free trip. She said: “Firstly, make sure to set realistic expectations for your trip. This will help you roll with the punches and appreciate the unique moments that arise, even if they weren't part of the original itinerary.

Hide Ad
Hide Ad

“Research your destination thoroughly – learn about local customs, dress codes, and social etiquette. Understanding the culture will not only prevent any faux pas, but also allow you to immerse yourself more deeply and appreciate the nuances of the place you're visiting.

“Look into shoulder seasons or even the off-season for your chosen location. You might be surprised by the lower prices, smaller crowds, and even more pleasant weather you'll encounter.

“Try to connect with people who live in your destination city or region.  They can recommend hidden gems, off-the-beaten-path experiences, and authentic local restaurants you might otherwise miss.

“While you don't need to be fluent, learning a few basic phrases in the local language can significantly improve your travel experience. Even a simple "hello," "thank you," or "please" can go a long way in showing respect and establishing a connection with the locals.”

Hide Ad
Hide Ad

The study also found that Times Square in New York is the world’s most stressful tourist trap, with 1,761 reviews calling it “overrated” or “underwhelming”. While, Checkpoint Charlie in Berlin, the Eiffel Tower in Paris, and The Little Mermaid in Copenhagen are also among the most disappointing tourist traps in the world.

Title:

Content: Follow Us:
Thursday, August 11, 2022

Woman cop from Bihar found dead in Pune hotel room

The policewoman was part of an investigation team from Bihar police that had come to Pune regarding a case registered in 2021. Preliminary probe points to suicide.

By: Express News Service | Pune |
August 11, 2022 6:37:03 pm
Officials said that Kavita Kumari was found dead in the hotel room located near Chandani Chowk in Bavdhan around 1.30 pm.

A 25-year-old woman police constable from Bihar who was in Pune, Maharashtra, as part of an investigation was found dead in a hotel room Thursday afternoon.

As per the information given by the officials from the Hinjewadi police station in Pune, the deceased identified as Kavita Kumari was part of an investigation team from Brahmaputra police station in the Muzaffarpur district of Bihar. The team had come to Pune for an investigation of a case registered in 2021 pertaining to charges of cheating and criminal breach of trust.

Senior Inspector Vivek Muglikar, in charge of the Hinjewadi police station, said that a probe has been launched into the sequence of events that led to the death of the constable.

A senior police officer said that while the preliminary probe points to suicide, senior officials from both jurisdictions — Pimpri Chinchwad in Maharashtra and Muzaffarpur in Bihar– were coordinating with each other to investigate the cause of the death.

Subscriber Only Stories

The Hinjewadi police station received the call in this regard from a member of her team, Sub-Inspector Om Prakash Prasad. Officials said that Kavita Kumari was found dead in the hotel room located near Chandani Chowk in Bavdhan around 1.30 pm.

📣 Join our Telegram channel (The Indian Express) for the latest news and updates

For all the latest Pune News, download Indian Express App.

  • The Indian Express website has been rated GREEN for its credibility and trustworthiness by Newsguard, a global service that rates news sources for their journalistic standards.
First published on: 11-08-2022 at 06:37:03 pm

Featured Stories

Advertisement
Advertisement
Advertisement
Advertisement

In 1984, the statue was again decapitated, this time by young men protesting the commercialization of the statue, which they felt had become a mere tourist attraction rather than a piece of art; the head was found and restored .

Title:

Content: Russian Flag Painted on Copenhagen's Most Famous Landmark

It's the latest in a long line of attacks on Little Mermaid statue
By Rob Quinn,  Newser Staff
Posted Mar 2, 2023 10:15 AM CST

The Little Mermaid statue in Copenhagen, one of Denmark's most famous landmarks, has been vandalized yet again, this time with the Russian flag. Authorities said Thursday that the white, blue, and red stripes of the Russian flag were painted on the stone the statue sits on, Reuters reports. Police said the vandalism was discovered early Thursday. "We are of course launching an investigation to find out who did it and when and how it happened," a police spokesman said, per Jyllands-Posten.

Denmark, like other European nations, has strongly criticized Russia's war against Ukraine. The small statue, a tribute to the Hans Christian Andersen fairy tale, sits off a waterfront promenade in the Danish capital. It has been vandalized many times since it was installed 110 years ago, AFP reports. It has been decapitated twice and was knocked off its base with explosives in 2003. In 2017, it was doused in red paint in a protest against whale hunting. In 2020, during worldwide protests after the death of George Floyd, the words "racist fish" were painted on the base, though Andersen scholars said they weren't aware of any racist elements in the fairy tale. (Read more The Little Mermaid stories.)

We use cookies. By Clicking "OK" or any content on this site, you agree to allow cookies to be placed. Read more in our privacy policy.
Get the news faster.
Tap to install our app.
X
Install the Newser News app
in two easy steps:
1. Tap in your navigation bar.
2. Tap to Add to Home Screen.

X

Another decapitation took place in 1998, carried out by vandals whose specific motivations were not detailed, but the head was again recovered and the statue repaired .

Beyond decapitations, the statue has been subjected to various forms of artistic and political expression.

In 1998, it was painted in bright colors by an unknown artist, sparking debate about the boundaries between art and vandalism .

In 2003, vandals used explosives to knock the statue off its base, causing significant damage; it was subsequently repaired and returned to its original position .

That same year, the statue was covered in a burqa as a political statement regarding women's rights, intended to highlight global issues concerning the treatment of women .

Environmental activism has also played a role: in 2017, the statue was doused in red paint as a protest against whale hunting, aiming to draw attention to marine life issues .

During the global protests following George Floyd's death in 2020, the words "racist fish" were painted on the base, sparking debate about the interpretation of Andersen's fairy tale, though scholars noted no racist elements in the original story .


The Little Mermaid statue in Copenhagen, created by Edvard Eriksen and unveiled in 1913 as a tribute to Hans Christian Andersen’s fairy tale, has endured a long and turbulent history of repeated intentional damages, each incident reflecting complex layers of cultural, political, and social commentary.

The statue’s status as a national symbol and tourist attraction has made it a frequent target for acts of protest, artistic intervention, and political expression, with each episode of vandalism carrying its own context and motivations .

**Decapitation Incidents** have been among the most dramatic and symbolically charged attacks on the statue.

The first major decapitation occurred in 1964, when a group of students from the Royal Danish Academy of Fine Arts removed the statue’s head.

This act was reportedly a protest against the commercialization of the statue and its reduction to a tourist commodity, highlighting tensions between art, public space, and commercial interests.

The head was later recovered and reattached, but the incident ignited debate about the role of public art and its vulnerability to societal critique .

In 1984, the statue was decapitated again, this time by a group of artists aiming to protest the commercialization of art more broadly.

The head was found and restored, and the act sparked renewed discussions about the protection and meaning of public art in Denmark .

Another decapitation took place in 1998, carried out by unknown individuals who were never apprehended.

The statue was restored after this incident as well, underscoring the ongoing risk faced by such prominent cultural symbols .

A further decapitation is noted in 2010, reportedly during a protest against Danish government policies, with the head again recovered and city officials condemning the act as an attack on a cherished cultural icon .

**Explosive Damage and Physical Attacks** have also marked the statue’s history.

In 2003, vandals used explosives to knock the statue off its base, causing significant physical damage that required extensive repairs.

This act was part of a broader trend of using public monuments as platforms for political expression and protest, and it led to the statue’s temporary removal for restoration .

Around this period, the statue was also reportedly hit by a boat, further contributing to the need for restoration .

In 2008, the statue was attacked with a chainsaw, resulting in substantial damage and public shock, prompting another round of restoration efforts .

In 2010, the statue’s arm was damaged in a hammer attack, with the perpetrator apprehended and the statue subsequently restored.

This incident was part of a series of assaults on public art in Copenhagen, reflecting a growing trend of vandalism against cultural symbols .

**Paint Vandalism and Political Statements** have been frequent, with the statue repeatedly used as a canvas for protest.

In 1998, activists painted the statue pink to protest the commercialization of the statue and its surroundings, raising questions about cultural ownership and the impact of tourism .

That same year, the statue was also covered in red paint, an act interpreted as a political statement rather than mere vandalism .

In 2003, the statue was painted pink as a protest against the Iraq War, symbolizing the statue’s silence on global issues and perceived governmental apathy .

In 2007, the statue was again vandalized with paint in protest against Danish government policies, reflecting broader societal issues .

In 2017, the statue was doused in red paint as a protest against whale hunting, linking environmental activism with cultural symbolism.

That same year, it was also covered in red paint by activists protesting the treatment of refugees in Europe, and in another incident, it was covered in a black shroud to symbolize the plight of asylum seekers.

These acts were cleaned off shortly after but underscored the statue’s ongoing relevance in contemporary social and political discourse .

In 2019, environmental activists covered the statue with a banner reading "Save the Sea" and splattered it with paint to raise awareness about ocean pollution and climate change .

**Graffiti and Politically Charged Messages** have also been prominent.

During the global protests following the death of George Floyd in 2020, the words "racist fish" were painted on the base of the statue.

This act was part of a larger conversation about race and representation, although scholars of Andersen’s work noted no racist elements in the original fairy tale, making the protest controversial and sparking debate about the interpretation of cultural icons .

In the same period, the statue was covered in a black cloth during protests related to racial justice, symbolizing broader movements addressing representation and the historical context of cultural symbols .

**Recent Vandalism** has continued the pattern of using the statue for political expression.

On March 2, 2023, the statue was vandalized with the Russian flag painted on the stone base it sits on.

This act was likely a political statement in response to Denmark’s criticism of Russia’s actions in Ukraine, and authorities launched an investigation to identify the perpetrators .

This incident demonstrates the statue’s ongoing role as a platform for contemporary political commentary and international issues.

**Symbolism and Cultural Context** are central to understanding the repeated vandalism of the Little Mermaid statue.

The statue’s vulnerability to such acts reflects ongoing societal tensions surrounding the portrayal of women in art and media, the challenges of preserving cultural heritage amid public dissent, and the evolving meanings attached to national symbols.

The statue has become a focal point for protests related to gender, representation, environmental issues, political dissent, and critiques of commercialization .

Its connection to Andersen’s fairy tale, which deals with themes of sacrifice and longing, adds further layers of meaning and symbolic potency, contributing to the motivations behind the acts of vandalism .

**Restoration Efforts** have been consistent and determined.

Each time the statue has been vandalized—whether through decapitation, explosive damage, paint attacks, or politically charged graffiti—Copenhagen authorities have undertaken restoration efforts to return it to its original condition.

These efforts underscore the statue’s cultural significance and the affection held by the public, as well as the city’s commitment to preserving this iconic piece of art .

The repeated attacks have transformed the statue into a living symbol, reflecting changing societal values and tensions over time .

**Public and Official Reactions** to the vandalism have been mixed.

Some members of the public view these acts as legitimate protest or necessary expressions of dissent against societal norms and government policies, while others see them as disrespectful to a beloved cultural icon.

Each incident has sparked discussions about art, culture, commercialization, and societal issues, making the statue a significant site for public discourse in Copenhagen .

The city’s consistent restoration of the statue after each incident demonstrates its commitment to maintaining the statue’s status as a cultural landmark despite ongoing challenges .

**Comparative Context** places the Little Mermaid’s repeated vandalism within a broader European pattern, where public monuments often become sites of political activism and social commentary.

Other cultural icons, such as the Mona Lisa and Stonehenge, have also been targeted by activists, reflecting a wider trend of iconoclasm and protest through the defacement of public monuments.

These acts highlight the intersection of art, politics, and public sentiment, and underscore the evolving societal values and contestations over historical narratives .

In summary, the Little Mermaid statue’s history of repeated intentional damages—including decapitations (1964, 1984, 1998, 2010), explosive damage (2003), chainsaw and hammer attacks (2008, 2010), various paint and graffiti protests (1998, 2003, 2007, 2017, 2019, 2020, 2023), and politically charged coverings and messages—illustrates its role as a canvas for political, social, and cultural expression.

Each incident has its own story, often tied to protest against commercialization, government policies, environmental concerns, racial justice, or international political conflicts.

Despite these repeated damages, the statue has been restored each time, maintaining its status as an iconic cultural symbol in Copenhagen and a living testament to the city’s ongoing cultural and counter-cultural dialogues .

The Little Mermaid statue in Copenhagen, created by Edvard Eriksen and unveiled in 1913 as a tribute to Hans Christian Andersen’s fairy tale, has endured a long and turbulent history of repeated intentional damages, each incident reflecting complex layers of cultural, political, and social commentary.

The statue’s status as a national symbol and tourist attraction has made it a frequent target for acts of protest, artistic intervention, and political expression, with each episode of vandalism carrying its own context and motivations .

Title:

Content: Advertisement Remove ads

The Little Mermaid was inspired by Hans Christian Andersen’s own queer heartbreak

Danish writer Hans Christian Andersen is recognised around the world for his beloved fairytales, but few know the author’s most famous story was inspired by his own queer heartbreak.

Unless you’ve been living under a rock, or under the sea somewhere, it’s no secret that Disney fans have been floundering ever since the news that there would be a live action remake of The Little Mermaid

People cried over The Little Mermaid casting Halle Bailey, a Black singer and actor, as Ariel because they didn’t think it was ‘accurate’ to Andersen’s original story.

Let’s be real, the Twitter hate brigade doesn’t really care about accuracy because if they did, they would have raged over the 1989 animated movie ending with the titular mermaid getting her romantic end with the prince of her dreams instead of losing him in a sorrowful metaphor for Anderson’s love life.

This won’t come as a surprise to anyone who has read any of Andersen’s fairytales. Many of them touch on themes of unrequited romantic longing, with characters like the Little Mermaid or the Steadfast Tin Soldier dying after having their heart broken.

Advertisement Remove ads

Andersen never had any official romantic relationships, but scholars definitely believe he was queer because of his infatuations with both men and women throughout his life.

Hans Christian Andersen was born 2 April, 1805 in Odense, Denmark. While his family wasn’t wealthy, a young Andersen attended boarding schools for more privileged families.

In 1819, he travelled to Copenhagen to work as an actor and returned to school after a while, supported by a patron named Jonas Collin.

Andersen began writing during this period, but it would be another decade before he would find literary fame. In 1829, he produced his first literary work, a short story entitled “A Journey on Foot from Holmen’s Canal to the East Point of Amager”, which became an immediate success.

He followed this with the publication of a play, some poetry, a novel and eventually began producing fairytales.

Andersen also was a prolific letter writer and expressed his romantic feelings for people in his life in his diaries. One of these people was Edvard Collin, the son of Andersen’s patron.

Andersen’s letters contained his deep emotions for Collin, but these feelings were ultimately unrequited. He described longing for Collin as if he were a “lovely girl” and yearningly said his “sentiments for you are those of a woman”.

The fact that Collin didn’t reciprocate these romantic feelings was a cause of distress for Andersen, and the author fled to the island of Fyn when Collin got married in 1836. It was there that the despondent Andersen penned a fairytale about a heartbroken mermaid.

Rictor Norton, a writer who focuses on LGBTQ+ history, noted in his 1998 book My Dear Boy: Gay Love Letters Through the Centuries that the story of Andersen’s love life was reflected in the fairytale.

Norton described that The Little Mermaid was “written when Collin decided to get married” and Andersen displayed “himself as the sexual outsider who lost his prince to another”.

Andersen was also infatuated with Danish dancer Harald Scharff, Norton said, and wrote deeply emotional letters to Carl Alexander, the hereditary grand duke of Saxe-Weimar-Eisenach.

In one letter, Andersen described loving Alexander as a “man can only love the noblest and best”, and he felt the other man was “more ardent, more affectionate” towards him after one meeting.

He wrote in another letter: “I quite love the young duke, he is the first of all princes that I really find attractive.”

In his diary, Anderson described an almost fairytale moment where Alexander “walked arm in arm” with the author and “kissed [him] lovingly” before asking him “always to love him though he was just an ordinary person”.

Hans Christian Andersen also nurtured infatuations with women, and he once proposed to Swedish opera singer Jenny Lind. His classic story The Nightingale is believed to be inspired by her, and it earned her the moniker of The Swedish Nightingale.

Andersen awkwardly proposed marriage to Lind in a letter, but she rejected him, saying she saw the author more as a brother.

In his early journals, he wrote about his choice to abstain from sexual relationships, which has led some historians to question if he was asexual.

Andersen discussed masturbation a lot in his diary. He was very candid in his diary about his concerns about penis pain reportedly “due to masturbation”, according to the Hans Christian Andersen Centre.

He also visited brothels, but from what he wrote in his personal diaries, he mostly talked to the women there. On 5 May 1867, he described going to a “shop which traded in human beings”, spoke to a lady, “paid 12 francs and left without having sinned in action but probably in thought”.

It’s difficult to define Han Christian Andersen’s queer identity, and various people have argued he was bisexual, biromantic or gay.

Klara Bom and Anya Aarenstrup, from the Hans Christian Andersen Centre of University of Southern Denmark, even use the word “asexual” when describing the writer’s feelings for other men.

They believe these infatuations are “platonic”, though LGBTQ+ people will know the long history of queer romances being ignored because of the ‘they were just friends’ mentality. They linked Andersen’s apparent aversion to sex to “very traumatic” elements in his “emotional life concerning the sexual sphere”.

Anderson died in 1875, so wouldn’t have described himself or his identity in any of our modern terms. But his writings suggest he was he was a person who loved people of different genders, and who struggled when they didn’t love him in the same way back – something many will relate to.

How did this story make you feel?

Sending reaction...
Thanks for your feedback!

Comments (0)

MyPinkNews members are invited to comment on articles to discuss the content we publish, or debate issues more generally. Please familiarise yourself with our community guidelines to ensure that our community remains a safe and inclusive space for all.

Loading Comments

Title:

Content: Fairytale-like European city is 'spellbinding' and has 'something for everyone'

A beautiful European town is a destination full to the brim of exciting and interesting things to do.

By Paul Tregunna, Travel and Lifestyle Reporter

Nyhavn has become synonymous with Copenhagen (Image: Getty)

The Nordic countries are perhaps the closest opportunity travellers have to transport themselves into their very own fairy tales.

With beautiful cities and charming locals, they are some of the finest countries in the world to visit.

None more so than Denmark, an incredibly friendly country that connects mainland Europe to Scandinavia.

Its capital city, Copenhagen, is one of the continent's most well-known places, yet it isn’t as popular a city break destination as it perhaps should be.

With its colourful houses and lively atmosphere, the iconic area of Nyhavn has become synonymous with Copenhagen.

The colourful houses of Nyhavn are the perfect backdrop to relax and grab a drink (Image: Getty)

A perfect place to kick back and grab a drink by the water, Nyhavn was originally a commercial port welcoming ships from all over the world.

Once home to the legendary writer Hans Christian Andersen, the neighbourhood wouldn't look out of place in a picture book itself.

There are a number of boat trips operating from Nyhavn, offering visitors a chance to explore the sights of Copenhagen by water. It is a great opportunity to get your bearings and spot any attractions you’d like to see up close, whilst providing interesting commentary on the history of this fantastic city.

You can buy tickets for one of the boat trips on the day from Nyhavn, but they can also be purchased online in advance. The prices vary depending on which provider you choose to travel, and tickets should range from around £16-£20 for an hour-long journey.

The Little Mermaid sculpture is a must-see (Image: Getty)
Become an Express Premium member
  • Support fearless journalism
  • Read The Daily Express online, advert free
  • Get super-fast page loading

Hans Christian Andersen’s presence is still felt throughout the city. You have the opportunity to get up close and personal with the Danish Author at the Hans Christian Andersen Experience - a charming and interactive museum detailing his life and the fairy tales he penned.

The Hans Christian Andersen Experience is a part of Ripley’s Believe it or Not, an entertaining exhibition on the world’s weirdest and wackiest true stories. You can purchase a combo ticket for both from 206 KR (£23.74) for an adult, and 139 KR (£16.02) for a child aged 4-11.

One of Hans Christian Andersen’s most famous stories is The Little Mermaid, which was written in 1837 and has subsequently been adapted into a number of films. In the Langelinie area of Copenhagen there is a bronze statue depicting the titular mermaid, unveiled in 1913, which is well worth taking the time to see.

Another of Copenhagen’s most iconic attractions is the spectacular Tivoli Gardens, one of the oldest amusement parks in the world.

Tivoli Gardens are one of the world's oldest amusement parks (Image: Getty)

With something for everyone, Tivoli has roller coasters, rides, shows and a feel-good atmosphere. If Disney is the ‘happiest place on Earth’, Tivoli mustn't be far behind.

The sheer scale of Tivoli is mind-blowing, and you can easily spend a full day there and not cover everything. There are a number of ticketing options which can be viewed on the Tivoli website, but bear in mind Tivoli Gardens reopens on March 22.

Connected to Tivoli is a superstore specialising in one of Denmark’s most famous exports - LEGO.

The LEGO Store Tivoli Gardens is a must visit for fans of the iconic building blocks, as the highlight of the shop is a station where you can design and make yourself out of LEGO, providing a truly unique memento.

The Church of our Saviour's spectacular spiralling spire offers fantastic views over Copenhagen (Image: Getty)

Standing tall over the city is the spellbinding spire of Our Saviour’s Church, which visitors have the opportunity to climb.

After ascending 400 steps, with the last 150 externally spiralling around the tower, you will be blessed with one of the best views of Copenhagen - some 262 feet in the air.

Entrance to the tower is free, but it is advisable to book online in advance to secure a timeslot. If you aren’t a fan of heights, it’s best you give the climb a miss.

Would you like to receive news notifications from Daily Express?

Title:

Content: Smashing statues

Iconoclasm isn’t just an expression of anger. It’s how we try to make new worlds.
February 17, 2023
(Source image from Rijksmuseum, Amsterdam)

Sometimes, bored indifference can sting worse than outright hostility. I was telling a friend about my present book project, The Storm of Images, which concerns the iconoclasm struggle in the Byzantine Empire during the eighth and ninth centuries. In my view, it’s a pivotal moment in the definition of Eastern and Western Christian traditions, so I was somewhat deflated when my friend asked, in effect, Why on earth would you want to do that? It’s so long ago, and the whole story is, well, Byzantine, a word that through the centuries has acquired plenty of negative baggage.

Fortunately, I was able to articulate a response that went beyond the simply defensive. In fact, I would argue, the whole story of iconoclasm is of perennial significance, a fact that should be as obvious today as in any previous era. Not only is smashing images an absolutely standard and recurring part of what societies do, but it is a fundamental part of religious sensibility, and by no means only for Christians. Simply put, it’s the way that we try to make new worlds.

Image smashing arises from two distinct impulses. Some iconoclasm grows out of hatred of a particular individual or the beliefs and causes that they represent. Here the smashers are striking at the figures represented, seeking to purge their memories as evil and unwanted. Such were the attacks on Soviet and communist images following the collapse of the Eastern bloc in 1989. More recently, in the United States, we see assaults on statues of Confederate heroes such as Nathan Bedford Forrest or Robert E. Lee. Through attacks on objects, activists are attacking the larger causes represented by those images. The United States has, since 2020, experienced a historically very sizable and socially transformative outbreak of iconoclasm, which has been echoed around the world.

Other smashers may truly venerate or love the individuals depicted, but they reject the depiction itself. In this category, far from condemning the figure represented, activists are driven by the exalted view that they have of that person, and they are rather agitated by the very notion of representing them in material or visual form. Such representation is thought impossible, the attempt evil or blasphemous. Any form of worship or prayer directed at objects is unacceptable, and it is futile to draw distinctions between worship and veneration, of praying to a material thing as opposed to praying through it. This attitude, this rejection of material images as such, was a fundamental driving force in the European Reformation—one at least as important as any particular theological doctrine of any given thinker.

The smashing of images is commonly one sensational aspect of a larger package of religious innovations, often of a quite revolutionary character. These tenets might include an assertion of inner spirituality over external or material symbols, along with perhaps a stern rejection of institutional religion or professional clergy.

Iconoclasm coexists intimately with anticlericalism. It is a rejection of existing notions of authority and a quest for whole new groundings, free of the claims of tradition. Depending on the context, the destruction of religious images can be an assertion of the supremacy of secular authority, of kings and governors over bishops and priests. The fact of destroying supposedly sacred objects—and remaining unharmed—sends a powerful message about the futility of those objects. If they are so potent, why can they not even protect themselves?

For both categories of iconoclast, their achievement lies not in destroying a given statue or altarpiece but in asserting the power to do so, against the power of the old order that hitherto had been its shield and defender. To strike at a statue or image—to bring down a Confederate general—is also to attack the institutions or individuals that erected those figures in the first place and who support their maintenance. It is a symbolic statement of who controls the visual landscape.

Moreover, the mass public violation of older taboos and restraints proclaims the impotence of that old guard. The fact that authorities no longer have the will or ability to prevent the removal of such once-cherished things in itself proclaims the end of an old world and the creation of a whole new order of society or politics. It is zero hour.

Even when the matters at issue are ostensibly secular, such acts of protest often acquire a ritualized format, which has echoes of enthusiastic or revivalist religion. Scenes of the removal of statues or images unforgettably proclaim these moments of revolutionary transformation. They are deliberately theatrical. In a modern context, visual representations of such acts of destruction become iconic in their own right. In their power to teach values, the acts of removal or destruction are as didactic as the images they are combating.

Making images is a perennial and fundamental component of the human religious experience, and so is crediting them with supernatural powers. But no less common is the practice of critiquing or destroying them. Sometimes we commemorate people’s faces; at other times we deface, and with equal passion. In order to be balanced and objective, a hypothetical museum of global religions should properly include its share of hacked and defaced icons, of fragments of toppled and shattered statues. The never-ending dialogue between the two competing approaches, the smashers and the devotees, has often driven religious thought and artistic expression.

John Calvin famously declared that “the human mind is a perpetual factory of idols.” I would adapt that to say that, time and again, history proves that the human mind is a powerful factory of image breaking, of iconoclasm.

**Decapitation Incidents** have been among the most dramatic and symbolically charged attacks on the statue.

**Decapitation Incidents** have been among the most dramatic and symbolically charged attacks on the statue.

The first major decapitation occurred in 1964, when a group of students from the Royal Danish Academy of Fine Arts removed the statue’s head.

The first major decapitation occurred in 1964, when a group of students from the Royal Danish Academy of Fine Arts removed the statue’s head.

The first major decapitation occurred in 1964, when a group of students from the Royal Danish Academy of Fine Arts removed the statue’s head.

This act was reportedly a protest against the commercialization of the statue and its reduction to a tourist commodity, highlighting tensions between art, public space, and commercial interests.

This act was reportedly a protest against the commercialization of the statue and its reduction to a tourist commodity, highlighting tensions between art, public space, and commercial interests.

This act was reportedly a protest against the commercialization of the statue and its reduction to a tourist commodity, highlighting tensions between art, public space, and commercial interests.

The head was later recovered and reattached, but the incident ignited debate about the role of public art and its vulnerability to societal critique .

Title:

Content: Russian Flag Painted on Copenhagen's Most Famous Landmark

It's the latest in a long line of attacks on Little Mermaid statue
By Rob Quinn,  Newser Staff
Posted Mar 2, 2023 10:15 AM CST

The Little Mermaid statue in Copenhagen, one of Denmark's most famous landmarks, has been vandalized yet again, this time with the Russian flag. Authorities said Thursday that the white, blue, and red stripes of the Russian flag were painted on the stone the statue sits on, Reuters reports. Police said the vandalism was discovered early Thursday. "We are of course launching an investigation to find out who did it and when and how it happened," a police spokesman said, per Jyllands-Posten.

Denmark, like other European nations, has strongly criticized Russia's war against Ukraine. The small statue, a tribute to the Hans Christian Andersen fairy tale, sits off a waterfront promenade in the Danish capital. It has been vandalized many times since it was installed 110 years ago, AFP reports. It has been decapitated twice and was knocked off its base with explosives in 2003. In 2017, it was doused in red paint in a protest against whale hunting. In 2020, during worldwide protests after the death of George Floyd, the words "racist fish" were painted on the base, though Andersen scholars said they weren't aware of any racist elements in the fairy tale. (Read more The Little Mermaid stories.)

We use cookies. By Clicking "OK" or any content on this site, you agree to allow cookies to be placed. Read more in our privacy policy.
Get the news faster.
Tap to install our app.
X
Install the Newser News app
in two easy steps:
1. Tap in your navigation bar.
2. Tap to Add to Home Screen.

X

In 1984, the statue was decapitated again, this time by a group of artists aiming to protest the commercialization of art more broadly.

In 1984, the statue was decapitated again, this time by a group of artists aiming to protest the commercialization of art more broadly.

In 1984, the statue was decapitated again, this time by a group of artists aiming to protest the commercialization of art more broadly.

The head was found and restored, and the act sparked renewed discussions about the protection and meaning of public art in Denmark .

Another decapitation took place in 1998, carried out by unknown individuals who were never apprehended.

Another decapitation took place in 1998, carried out by unknown individuals who were never apprehended.

Another decapitation took place in 1998, carried out by unknown individuals who were never apprehended.

The statue was restored after this incident as well, underscoring the ongoing risk faced by such prominent cultural symbols .

A further decapitation is noted in 2010, reportedly during a protest against Danish government policies, with the head again recovered and city officials condemning the act as an attack on a cherished cultural icon .

**Explosive Damage and Physical Attacks** have also marked the statue’s history.

**Explosive Damage and Physical Attacks** have also marked the statue’s history.

In 2003, vandals used explosives to knock the statue off its base, causing significant physical damage that required extensive repairs.

In 2003, vandals used explosives to knock the statue off its base, causing significant physical damage that required extensive repairs.

In 2003, vandals used explosives to knock the statue off its base, causing significant physical damage that required extensive repairs.

This act was part of a broader trend of using public monuments as platforms for political expression and protest, and it led to the statue’s temporary removal for restoration .

Around this period, the statue was also reportedly hit by a boat, further contributing to the need for restoration .

In 2008, the statue was attacked with a chainsaw, resulting in substantial damage and public shock, prompting another round of restoration efforts .

In 2010, the statue’s arm was damaged in a hammer attack, with the perpetrator apprehended and the statue subsequently restored.

In 2010, the statue’s arm was damaged in a hammer attack, with the perpetrator apprehended and the statue subsequently restored.

In 2010, the statue’s arm was damaged in a hammer attack, with the perpetrator apprehended and the statue subsequently restored.

This incident was part of a series of assaults on public art in Copenhagen, reflecting a growing trend of vandalism against cultural symbols .

**Paint Vandalism and Political Statements** have been frequent, with the statue repeatedly used as a canvas for protest.

**Paint Vandalism and Political Statements** have been frequent, with the statue repeatedly used as a canvas for protest.

**Paint Vandalism and Political Statements** have been frequent, with the statue repeatedly used as a canvas for protest.

In 1998, activists painted the statue pink to protest the commercialization of the statue and its surroundings, raising questions about cultural ownership and the impact of tourism .

That same year, the statue was also covered in red paint, an act interpreted as a political statement rather than mere vandalism .

In 2003, the statue was painted pink as a protest against the Iraq War, symbolizing the statue’s silence on global issues and perceived governmental apathy .

In 2007, the statue was again vandalized with paint in protest against Danish government policies, reflecting broader societal issues .

In 2017, the statue was doused in red paint as a protest against whale hunting, linking environmental activism with cultural symbolism.

In 2017, the statue was doused in red paint as a protest against whale hunting, linking environmental activism with cultural symbolism.

In 2017, the statue was doused in red paint as a protest against whale hunting, linking environmental activism with cultural symbolism.

That same year, it was also covered in red paint by activists protesting the treatment of refugees in Europe, and in another incident, it was covered in a black shroud to symbolize the plight of asylum seekers.

That same year, it was also covered in red paint by activists protesting the treatment of refugees in Europe, and in another incident, it was covered in a black shroud to symbolize the plight of asylum seekers.

That same year, it was also covered in red paint by activists protesting the treatment of refugees in Europe, and in another incident, it was covered in a black shroud to symbolize the plight of asylum seekers.

These acts were cleaned off shortly after but underscored the statue’s ongoing relevance in contemporary social and political discourse .

In 2019, environmental activists covered the statue with a banner reading "Save the Sea" and splattered it with paint to raise awareness about ocean pollution and climate change .

Title:

Content: HOMEPAGE

Mona Lisa splattered in soup at Louvre Museum in Paris by food protesters

  • Two food protesters hurled soup at Leonardo da Vinci's Mona Lisa in the Louvre Museum, in Paris.
  • Bullet-proof glass protects the world-famous image.  No damage has been reported.
  • The act of vandalism follows protests by French farmers demanding better pay and living conditions.
Advertisement

Two food protesters hurled soup at the world-famous Mona Lisa painting in the Paris Louvre Museum on Sunday.

The priceless artwork is protected behind a glass panel. Museum authorities have reported no damage to date.

Leonardo da Vinci's masterpiece was left covered in what appeared to be tomato soup, after which the two protesters made a speech about sustainable agriculture and the food supply chain.

Videos on social media show the activists wearing T-shirts wearing shirts with the words "Food Counterattack" emblazoned on them in French.

Advertisement

The footage shows two people throwing soup at the da Vinci portrait while Louvre museumgoers can be heard groaning and saying "No."

The soup splattered onto the protective casing covering the painting.

"What's the most important thing?" they shouted in French. "Art, or right to a healthy and sustainable food?" They added: "Our farming system is sick. Our farmers are dying at work."

French farmers have been protesting and threatening roadblocks around Paris this month, demanding better pay and living conditions, Reuters reports.

Advertisement

The 16th-century Italian Renaissance painting, perhaps the most widely recognized artwork in the world, holds the Guinness World Record for the highest-known painting insurance valuation in history.

It was valued at $100 million in 1962, equivalent to about $1 billion in 2023.

In 2022, a similar protest at the UK's National Gallery faced backlash when anti-oil protesters threw a can of tomato soup onto Van Gogh's "Sunflowers."

The Mona Lisa has been protected by bulletproof glass since 1956 after one vandal threw acid at it and, a few months later, another smashed it with a rock, Harper's Bazaar reports.

Advertisement

The Mona Lisa has been the target of other acts of protest and vandalism.

In 1974, while it was being exhibited in Tokyo, a woman sprayed the Mona Lisa with red paint, the New York Times reported. The woman was a wheelchair user who was protesting the museum's lack of accommodations for disabled people, per Harper's Bazaar.

In 2009, a "disgruntled Russian woman" who had been denied French citizenship threw a ceramic mug at the painting, per Harper's Bazaar. The mug shattered after hitting the safety glass.

The most recent instance before today's attack was in 2022. A man disguised as an older woman smeared cake on the safety glass after failing to smash it.

Advertisement

He threw rose petals around before being escorted out by security.

On his way out, he told fellow museumgoers, "There are people who are destroying the Earth. Think about it. All the artists tell you think about the Earth, all artists think about the Earth, that's why I did this. Think about the planet."

Sign up for notifications from Insider! Stay up to date with what you want to know.
Subscribe to push notifications
Paris Protest France
Advertisement

Jump to

  1. Main content
  2. Search
  3. Account

**Graffiti and Politically Charged Messages** have also been prominent.

**Graffiti and Politically Charged Messages** have also been prominent.

During the global protests following the death of George Floyd in 2020, the words "racist fish" were painted on the base of the statue.

During the global protests following the death of George Floyd in 2020, the words "racist fish" were painted on the base of the statue.

During the global protests following the death of George Floyd in 2020, the words "racist fish" were painted on the base of the statue.

This act was part of a larger conversation about race and representation, although scholars of Andersen’s work noted no racist elements in the original fairy tale, making the protest controversial and sparking debate about the interpretation of cultural icons .

In the same period, the statue was covered in a black cloth during protests related to racial justice, symbolizing broader movements addressing representation and the historical context of cultural symbols .

**Recent Vandalism** has continued the pattern of using the statue for political expression.

**Recent Vandalism** has continued the pattern of using the statue for political expression.

**Recent Vandalism** has continued the pattern of using the statue for political expression.

On March 2, 2023, the statue was vandalized with the Russian flag painted on the stone base it sits on.

On March 2, 2023, the statue was vandalized with the Russian flag painted on the stone base it sits on.

On March 2, 2023, the statue was vandalized with the Russian flag painted on the stone base it sits on.

This act was likely a political statement in response to Denmark’s criticism of Russia’s actions in Ukraine, and authorities launched an investigation to identify the perpetrators .

This incident demonstrates the statue’s ongoing role as a platform for contemporary political commentary and international issues.

This incident demonstrates the statue’s ongoing role as a platform for contemporary political commentary and international issues.

**Symbolism and Cultural Context** are central to understanding the repeated vandalism of the Little Mermaid statue.

**Symbolism and Cultural Context** are central to understanding the repeated vandalism of the Little Mermaid statue.

The statue’s vulnerability to such acts reflects ongoing societal tensions surrounding the portrayal of women in art and media, the challenges of preserving cultural heritage amid public dissent, and the evolving meanings attached to national symbols.

The statue has become a focal point for protests related to gender, representation, environmental issues, political dissent, and critiques of commercialization .

Its connection to Andersen’s fairy tale, which deals with themes of sacrifice and longing, adds further layers of meaning and symbolic potency, contributing to the motivations behind the acts of vandalism .

**Restoration Efforts** have been consistent and determined.

**Restoration Efforts** have been consistent and determined.

Each time the statue has been vandalized—whether through decapitation, explosive damage, paint attacks, or politically charged graffiti—Copenhagen authorities have undertaken restoration efforts to return it to its original condition.

These efforts underscore the statue’s cultural significance and the affection held by the public, as well as the city’s commitment to preserving this iconic piece of art .

The repeated attacks have transformed the statue into a living symbol, reflecting changing societal values and tensions over time .

**Public and Official Reactions** to the vandalism have been mixed.

**Public and Official Reactions** to the vandalism have been mixed.

Some members of the public view these acts as legitimate protest or necessary expressions of dissent against societal norms and government policies, while others see them as disrespectful to a beloved cultural icon.

Each incident has sparked discussions about art, culture, commercialization, and societal issues, making the statue a significant site for public discourse in Copenhagen .

The city’s consistent restoration of the statue after each incident demonstrates its commitment to maintaining the statue’s status as a cultural landmark despite ongoing challenges .

**Comparative Context** places the Little Mermaid’s repeated vandalism within a broader European pattern, where public monuments often become sites of political activism and social commentary.

**Comparative Context** places the Little Mermaid’s repeated vandalism within a broader European pattern, where public monuments often become sites of political activism and social commentary.

**Comparative Context** places the Little Mermaid’s repeated vandalism within a broader European pattern, where public monuments often become sites of political activism and social commentary.

Other cultural icons, such as the Mona Lisa and Stonehenge, have also been targeted by activists, reflecting a wider trend of iconoclasm and protest through the defacement of public monuments.

Other cultural icons, such as the Mona Lisa and Stonehenge, have also been targeted by activists, reflecting a wider trend of iconoclasm and protest through the defacement of public monuments.

Other cultural icons, such as the Mona Lisa and Stonehenge, have also been targeted by activists, reflecting a wider trend of iconoclasm and protest through the defacement of public monuments.

These acts highlight the intersection of art, politics, and public sentiment, and underscore the evolving societal values and contestations over historical narratives .

Title:

Content: CULTURE

Mona Lisa's brush with vandalism continues as 'La Joconde' is targeted again

There was commotion at the Louvre in Paris on Sunday when a man disguised as an old lady in a wheelchair thew cream cake at the "Mona Lisa" as part of an apparent climate-relate protest.

Advertising

Shocked onlookers watched as the man smeared cream on the bullet-proof glass shield protecting the world’s most famous painting before he was restrained by security guards.

While Leonardo da Vinci’s masterpiece was luckily undamaged, it’s not the first time it has attracted the attention of vandals.

In August 1911, the painting – known as "La Joconde" in French – was stolen from the Salon Carré, a small room reserved for masterpieces on the second floor of the Louvre.

It was the crime that made her a legend. A widespread investigation was launched, with art critic Guillaume Apollinaire and Pablo Picasso emerging as suspects.

The thief however turned out to be an Italian glazier, Vincenzo Peruggia, who was involved in a project to fit important museum works with protective glass.

For two years Peruggia kept the painting hidden in his bedroom in the double bottom of a white wooden suitcase under his bed - in what’s often being described as an act of "patriotism".

Ramped up security

Now considered to be priceless, the "Mona Lisa" was not returned to the Louvre until January 1914, when it was placed under increased surveillance.

Fast forward to 1956 – a difficult year for the "Mona Lisa", which was damaged during two separate vandalism incidents.

Firstly the canvas took a hit when a man sprayed acid paint on the work. A few months later a Bolivian man threw a rock at the painting, breaking the protective glass. The resulting splinters damaged the left arm of the "Mona Lisa", which had to be repainted.

It was these attacks that prompted the Louvre to install bulletproof glass around the "Mona Lisa".

In 1974, when on display at the Tokyo National Museum, the portrait was attacked once again – this time with red paint – by a visitor in a wheelchair who was upset over the venue’s lack of access ramps. The work was unharmed.

Then most recently, in 2009, a Russian woman who was frustrated at failing to obtain French nationality threw a ceramic cup at the "Mona Lisa".

The cup was shattered, and the armoured glass slightly scratched. Da Vinci’s prize painting, now a favourite target for vandals, survived again unscathed.

While no footage was taken of Sunday's attampt to damage the painting, here's a tweet of the aftermath:

Daily newsletterReceive essential international news every morning

Title:

Content: BETA
This is a BETA experience. You may opt-out by clicking here

More From Forbes

Edit Story

Lié Studio Opens Inaugural Flagship In The Heart Of Copenhagen

Following

When twin sisters, co-founders and creative directors Amalie and Cecilie Moosgaard launched Danish brand Lié Studio in 2021, they thought to apply the concept of wardrobe dressing to fine jewelry. Fine jewelry designs conceived in their studio were intended to enhance a busy woman’s everyday uniform. Strikingly simple, streamlined, and versatile, pieces from the brand consistently echo a subdued brand of elegance and sophistication that would endure time, season, and trend. Both founders share, “We see the LIÉ STUDIO collection as an extension of our own personal style—timeless and classic with a modern twist. With a fast-paced lifestyle in mind, we strive to make quality, everyday essentials that elevate the wardrobe. Ultimately, we want to make it effortless for the LIÉ woman to look and feel confident no matter the occasion and wherever their day takes them.”

LIÉ STUDIO Contemporary Jewelry Designs Loved By Fashion’s It Girls

During its fledging years in the style space, Lié Studio was exclusively available online and through select retail partners. The brand steadily gained traction among the fashionable set and within tight circles of It girls. Amalie and Cecilie remember, “Having worked in the industry from such a young age, we had each built a strong global community on social media. Luckily from the beginning, we were able to expose the brand to a very global audience.”

Minimalist forms informed by Scandinavian aesthetics immediately appealed to the modern sensibilities of the their global audience, especially in the US. The duo adds, “Our channels on Instagram and Pinterest have been instrumental in introducing our brand to so many markets, and subsequently our amazing retail partners.”

The last six months have been especially pivotal for the brand. Just last April, Lié Studio launched a capsule collection for Net-A-Porter. The Danish label also recently introduced a line of leather accessories called The Staples. These milestones were shortly followed by the opening of its inaugural flagship at the Egmont Media House on Vognmagergade in Copenhagen.

Bringing Contemporary Jewelry Design To A Retail Space

Clean lines, thoughtful design details, and uncompromising material selection were key pillars in bringing the brick-and-mortar space to life. The Moosgaard sisters introspect, “We think of LIÉ STUDIO as a broader design philosophy outside of jewelry or leather (a new category we introduced this season). It can be challenging to express the universe of the brand only online and we wanted to open a physical retail space where we could welcome in our community and provide an experience that extended beyond the two dimensional.” For everyone involved in building the flagship, the space is a representation of a curious mindset. “

They engaged Scandinavian designer Julius Neilson to turn vision into reality within a 40-square meter space. “We discovered Julius through his work at Goods, a men’s wear store in Copenhagen, where his focus on simplicity and material choice aligned perfectly with our vision. His portfolio includes churches and private residence projects, showcasing expertise in multifunctional spaces that resonated with our desire to blend architectural elements with retail and personal style,” Amalie and Cecilie recount. His mandate was to translate the brand’s identity, exploring the intersection between personal style, architectural heritage, and modern retail.”

More than a retail destination the team was keen on creating a homey, welcoming atmosphere. Key pieces that merged the retail experience with the founders’ personal style include a veneer centerpiece that would function as an large-scale jewelry box. According to the founders, this detail was an integral part of the design vision.

Amalie and Cecilie state, “Julius’s deep knowledge of cultural history and substantial insights into materials made him the ideal collaborator to bring our vision to life, resulting in a space that is inviting, elegant, and reflective of our brand philosophy.” At the inaugural flagship of Lié Studio in Copenhagen, visitors are cocooned in a contemporary 40-square meter jewerly box where every is welcome to discover, explore and bask in thoughtful design.

Join The Conversation

Comments

One Community. Many Voices. Create a free account to share your thoughts.

Read our community guidelines .

Forbes Community Guidelines

Our community is about connecting people through open and thoughtful conversations. We want our readers to share their views and exchange ideas and facts in a safe space.

In order to do so, please follow the posting rules in our site's Terms of Service.  We've summarized some of those key rules below. Simply put, keep it civil.

Your post will be rejected if we notice that it seems to contain:

  • False or intentionally out-of-context or misleading information
  • Spam
  • Insults, profanity, incoherent, obscene or inflammatory language or threats of any kind
  • Attacks on the identity of other commenters or the article's author
  • Content that otherwise violates our site's terms.

User accounts will be blocked if we notice or believe that users are engaged in:

  • Continuous attempts to re-post comments that have been previously moderated/rejected
  • Racist, sexist, homophobic or other discriminatory comments
  • Attempts or tactics that put the site security at risk
  • Actions that otherwise violate our site's terms.

So, how can you be a power user?

  • Stay on topic and share your insights
  • Feel free to be clear and thoughtful to get your point across
  • ‘Like’ or ‘Dislike’ to show your point of view.
  • Protect your community.
  • Use the report tool to alert us when someone breaks the rules.

Thanks for reading our community guidelines. Please read the full list of posting rules found in our site's Terms of Service.

Title:

Content: ‘Just Stop Oil’ activists vandalise Stonehenge

In a statement the group said two of its members had “decorated” Stongehenge to demand an end to oil and gas burning and extraction by 2030.

Updated - June 19, 2024 09:33 pm IST

Published - June 19, 2024 09:28 pm IST - LONDON

An image grab from a video released by the Just Stop Oil climate campaign group shows activists spraying an orange substance at Stonehenge in Wiltshire, southwest England, on June 19, 2024. | Photo Credit: AFP

Climate activists of the ‘Just Stop Oil’ group sprayed orange powder on to the stones of Stonehenge, the prehistoric rock monument in Wiltshire, England, on Wednesday. The attack happened a day before the summer solstice (June 20) when crowds gather at the site. The monument, thought to have been built in several stages between 3000 BCE and 1500 BCE, was likely significant, historically, as a gathering place for rituals during the summer and winter solstices, as the position of the stones aligns in specific ways with the sun’s trajectory on these days.

Two people have been arrested in connection with the incident, the police said.

In a statement the group said two of its members had “decorated” Stongehenge to demand an end to oil and gas burning and extraction by 2030.

“Standing inert for generations works well for stones – not climate policy,” the group said.

The U.K.’s top leaders, normally at loggerheads with each other with a general election three weeks away, found common ground over the attack

“’Just Stop Oil’ is a disgrace,” Prime Minister Rishi Sunak said on social media site X.

“The damage done to Stonehenge is outrageous. Just Stop Oil are pathetic,” said leader of the Labour Party Keir Starmer, who is the frontrunner for the Prime Minister’s post.

‘Just Stop Oil’ members have attacked a number of culturally significant objects. Two activists in their 80s - a priest and a retired teacher - had smashed the case around the Magna Carta in the British Museum in May. In January, two other activists threw soup on the Mona Lisa at the Louvre in Paris.

0 / 0
Sign in to unlock member-only benefits!
  • Access 10 free stories every month
  • Save stories to read later
  • Access to comment on every story
  • Sign-up/manage your newsletter subscriptions with a single click
  • Get notified by email for early access to discounts & offers on our products

In summary, the Little Mermaid statue’s history of repeated intentional damages—including decapitations (1964, 1984, 1998, 2010), explosive damage (2003), chainsaw and hammer attacks (2008, 2010), various paint and graffiti protests (1998, 2003, 2007, 2017, 2019, 2020, 2023), and politically charged coverings and messages—illustrates its role as a canvas for political, social, and cultural expression.

Each incident has its own story, often tied to protest against commercialization, government policies, environmental concerns, racial justice, or international political conflicts.

Each incident has its own story, often tied to protest against commercialization, government policies, environmental concerns, racial justice, or international political conflicts.

Despite these repeated damages, the statue has been restored each time, maintaining its status as an iconic cultural symbol in Copenhagen and a living testament to the city’s ongoing cultural and counter-cultural dialogues .