Iraq’s Ancient Sites, Fragile Stability Spur New Trickle of Tourists 

Anna Nikolaevna, 38, a Russian national, and Jacob Nemec, 29, an American national, walk during a tour in the ancient city of Babylon, Iraq June 5, 2023. (Reuters)
Anna Nikolaevna, 38, a Russian national, and Jacob Nemec, 29, an American national, walk during a tour in the ancient city of Babylon, Iraq June 5, 2023. (Reuters)
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Iraq’s Ancient Sites, Fragile Stability Spur New Trickle of Tourists 

Anna Nikolaevna, 38, a Russian national, and Jacob Nemec, 29, an American national, walk during a tour in the ancient city of Babylon, Iraq June 5, 2023. (Reuters)
Anna Nikolaevna, 38, a Russian national, and Jacob Nemec, 29, an American national, walk during a tour in the ancient city of Babylon, Iraq June 5, 2023. (Reuters)

When Jacob Nemec's family heard he was planning to go on holiday in Iraq, they pleaded with the 28-year-old American to reconsider.

"I got a text from my grandma for the first time in five years saying - being your grandmother and to respect me - I would appreciate if you don't go. I got crying phone calls from my mum," said Nemec, a warehouse supervisor from Reno, Nevada.

He decided to go anyway, but understood his family's concerns.

Iraq has seen almost non-stop turmoil for decades, from an eight-year war with Iran in the 80s, to the first Gulf war in the 90s and heavy sanctions, the 2003 US invasion, years of bloody sectarian warfare and then conflict with ISIS.

The situation, however, has gradually improved since ISIS’ territorial defeat in 2017, with blast walls coming down and cranes going up in Baghdad and other cities as they turn to construction and find a new sense of normalcy.

Iraq hosted its first Gulf Cup in more than 40 years earlier this year, with thousands of Arab visitors in attendance - an event that helped put the country back on the map.

Now, a small but growing number of tourists are heading to Iraq to see attractions spanning from vast desert and marshland ecosystems to ruins of the worlds earliest cities and empires.

Many have come from neighboring Arab Gulf countries, but defying warnings advising against travel, an increasing number of adventurous tourists are also trickling in from Europe and the United States.

Nemec, along with a Russian and a British tourist, visited the maze-like ruins of the ancient city of Babylon, the city of Najaf with its tight alleys and mud-brick houses, and the old city of Mosul in the north.

"I was a little hesitant coming as a American, like 'Oh my government did really bad things here. Is everyone going to hate me for that?'" Nemec said.

"That hasn't been the case at all... Governments can be bad, but people wherever you go are good."

The uptick in tourism coincides with a push by Iraq's government to show that the country is safe and open to foreign businesses and visitors as it looks to diversify its oil-dependent economy.

Tourism Minister Ahmed Fakak Al-Badrani said work was underway to build new hotels to keep up with growing demand and to refurbish tourist sites and heritage buildings.

He said the country's image in the West as an arena of conflict would gradually change as more people visited.

Tourists "are messengers who tell these states that Iraq has returned to being a safe country and is not a red line as some say. Maybe the issue needs some time, but not too long," he told Reuters.

Foreign governments are not convinced.

'Do not travel'

The US and European countries still warn against any travel to Iraq due to security concerns. The US State Department website says: "Do not travel to Iraq due to terrorism, kidnapping, armed conflict, civil unrest".

It urges people to write a will and make funeral arrangements with their families should they chose to go.

Westerners became a main target of kidnappings and killings following the US invasion, including by extremist groups such as al-Qaeda and ISIS, and hardline militias close to Iran, all of whom viewed the United States as an occupier.

In November of last year, a US citizen was killed in central Baghdad - a rare attack that nonetheless sent jitters through the foreign community in the city.

Five Western diplomats said that there would be no change to US or European travel advisories any time soon due to the continued possibility of unpredictable violence, such as armed clashes in Baghdad last year that killed dozens of Iraqis.

That has not stopped people coming, though just how many are showing up is unclear.

A side forgotten

The tourism minister did not provide figures of tourist arrivals.

Major-General Abdel-Karim Sudani, a security adviser to the prime minister, told Reuters just over 2.5 million foreigners had visited Iraq in the six-month period between Nov. 15 2022 and May. 15 of this year, including 312,000 Arab visitors.

In any case, the tourism sector remains heavily underdeveloped.

Few of the ancient ruins that dot the country have signs describing their significance, nor accredited tour guides.

Baghdad International Airport does not have its own website, with the top search item instead directing browsers to a page that warns: "We do not recommend to visit the country (it is one of the most dangerous places on Earth)."

Many Iraqis are trying to make up for those shortcomings and show another side of the country.

Ali Hilal, a travel blogger, is one of them.

He got stuck in Iraq during the COVID-19 pandemic while visiting from Canada where he lived, and decided to travel around the country, filming magnificent ancient palaces and lush green mountains in videos posted online and shared widely.

"Of course we have innumerable political and social and environmental problems," Hilal said.

"But there is a side we might have forgotten, and that's the side I am trying to see and have people see with me."



Private Museums Bolster Cultural Tourism in Qassim Region

A prominent example is the private museum of Abdullah Al-Suhaibani, an expert with over 40 years of experience in gemstones and minerals - SPA
A prominent example is the private museum of Abdullah Al-Suhaibani, an expert with over 40 years of experience in gemstones and minerals - SPA
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Private Museums Bolster Cultural Tourism in Qassim Region

A prominent example is the private museum of Abdullah Al-Suhaibani, an expert with over 40 years of experience in gemstones and minerals - SPA
A prominent example is the private museum of Abdullah Al-Suhaibani, an expert with over 40 years of experience in gemstones and minerals - SPA

Qassim Region is witnessing a significant rise in private museums, as individual collectors transform personal passions into vital cultural projects. These museums serve as a living memory for the community, preserving rare artifacts, historical documents, antique weapons, and vintage collections that document critical stages of the region's history. By connecting the present with its roots, these sites strengthen national identity and provide essential research resources for scholars and tourists alike, SPA reported.

A prominent example is the private museum of Abdullah Al-Suhaibani, an expert with over 40 years of experience in gemstones and minerals.

His collection features rare agates, fossils from ancient geological eras, and unique rock formations discovered throughout the Kingdom.

The museum acts as a scientific platform, promoting geology and field research while educating the community on the Kingdom’s diverse natural resources and mineral wealth.

Located near Al-Khabra Historical Village, these private initiatives have become key cultural landmarks in Riyadh Al-Khabra Governorate. Their growth aligns with Saudi Vision 2030 goals to develop cultural and scientific tourism, support local content, and position the Kingdom’s heritage and natural sites as premier global destinations.


Saudi Arabia Showcases Literary Diversity at 2026 Rabat International Book Fair

‏The Saudi pavilion brings together a range of government entities and cultural institutions - SPA
‏The Saudi pavilion brings together a range of government entities and cultural institutions - SPA
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Saudi Arabia Showcases Literary Diversity at 2026 Rabat International Book Fair

‏The Saudi pavilion brings together a range of government entities and cultural institutions - SPA
‏The Saudi pavilion brings together a range of government entities and cultural institutions - SPA

The Literature, Publishing and Translation Commission launched the Saudi pavilion at the 2026 International Publishing and Book Fair in Rabat, which continues through May 10.

‏Commission CEO Dr. Abdullatif Alwasel affirmed that the Kingdom’s participation in the event embodies the deep historical ties between Saudi Arabia and Morocco while showcasing a diverse, contemporary cultural movement driven by Saudi Vision 2030.

“Saudi Arabia’s participation at the 2026 International Publishing and Book Fair emphasizes the Kingdom’s commitment to spotlighting publishers and the creative literary sector, which continues to go from strength to strength,” Alwasel said, SPA reported.

‏He added: “The Saudi pavilion is an opportunity to invite people from every corner of the world to experience Saudi culture and diverse literary works, showcase unique Saudi talent and creative thinking, while facilitating cultural exchange and engaging discussions.”

‏The Saudi pavilion brings together a range of government entities and cultural institutions, led by the Literature, Publishing and Translation Commission, highlighting the integrated approach of the Kingdom’s cultural environment.

‏As part of the pavilion, the commission has organized a series of topical panel discussions, poetry evenings, and workshops featuring Saudi writers and creative thinkers, encouraging discussions on key issues relating to the literature, publishing and translation sector and its impact on Arab and global conversations.

‏The participation at the 31st International Publishing and Book Fair event reaffirms the Kingdom’s efforts towards platforming local talent and enhancing collaboration and cultural exchange.


Georg Baselitz, the German Painter Who Turned Postwar Art Upside Down, Dies at 88

German artist Georg Baselitz attends the opening of his exhibition "The Heroes" (Die Helden) at the Staedel museum in Frankfurt, Germany June 29, 2016. (Reuters)
German artist Georg Baselitz attends the opening of his exhibition "The Heroes" (Die Helden) at the Staedel museum in Frankfurt, Germany June 29, 2016. (Reuters)
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Georg Baselitz, the German Painter Who Turned Postwar Art Upside Down, Dies at 88

German artist Georg Baselitz attends the opening of his exhibition "The Heroes" (Die Helden) at the Staedel museum in Frankfurt, Germany June 29, 2016. (Reuters)
German artist Georg Baselitz attends the opening of his exhibition "The Heroes" (Die Helden) at the Staedel museum in Frankfurt, Germany June 29, 2016. (Reuters)

Georg Baselitz liked to insist — sometimes as a taunt, ‌sometimes as a shield — that he did not know how to paint. That he had "no talent".

Rejected at 17 by the Dresden Academy of Fine Arts, he talked his way into an academy in East Berlin only to be expelled two semesters later for "sociopolitical immaturity".

"I was stupid," he recalled. "I was uneducated, but I was a rebel."

From that rebellion, Baselitz forged a career that made the child of Nazi Germany, schooled under Soviet communism, into one of the defining artists of postwar Germany.

The painter and sculptor, known for his depictions of raw bodies and inverted landscapes, has died at the age of 88, Germany's Die Welt newspaper reported on Thursday. No cause of death was given.

A REBEL SHAPED BY TWO DICTATORSHIPS

Georg Baselitz was born Hans-Georg Bruno Kern on January 23, 1938, in the Saxon village of Deutschbaselitz, a name he later adopted.

His father, a village schoolteacher and Nazi Party member, recorded Hans-Georg's birth in his diary. Inexplicably, he recorded the birth of none of his other four children, the Sächsische Zeitung daily reported in 2018.

After the war, ‌his father was ‌barred from teaching. Baselitz's mother took over his duties at the school.

Baselitz spent his childhood ‌amid ⁠the unforgiving discipline of ⁠Nazi Germany, and his adolescence amid the rubble and ideological re-education of the country's Soviet occupation zone.

"I was born into a destroyed order, a destroyed landscape, a destroyed people, a destroyed society," he later recalled. "And I didn't want to reestablish an order: I had seen enough of so-called order. I was forced to question everything, to be 'naive', to start again."

After he was expelled from the East Berlin academy, he moved to West Berlin, where he finished his studies and absorbed modernism in a way that felt, he said, like a sudden intake of oxygen.

He recalled the shock of first seeing works by Jackson Pollock and other abstract expressionists — evidence, in his telling, that ⁠the United States had a serious culture despite what he had been taught.

But rather than ‌imitate an American style, Baselitz turned back to German sources, drawing on expressionism, ‌folk traditions and imagery often dismissed by critics as ugly or even "degenerate".

SCANDAL AS A CALLING CARD

At a 1963 solo show in Berlin, authorities ‌seized two of his paintings on obscenity grounds. The episode made Baselitz famous.

The early pictures, marked by raw bodies, stunted masculinity and abrasive humor, were widely seen as provocation.

Supporters and museum curators have also framed them as a blunt report on postwar German life: damaged, compromised and struggling to find a new footing.

That sensibility carried into his mid-1960s "Heroes" paintings, which presented hulking, battered figures that looked less like victors than survivors ‌stumbling out of a defeated national myth.

But Baselitz's most recognizable works came in 1969, when he began painting motifs upside down.

After earlier experiments that fractured or partially inverted figures, he ⁠produced fully inverted works including "The ⁠Wood on Its Head" and "The Man by the Tree".

He did not simply flip finished images, he composed and painted them inverted from the start.

That approach altered how viewers read his works. By disrupting recognition, it forced attention onto the mechanics of painting — its color, balance and composition.

"An object painted upside down is suitable for painting because it is unsuitable as an object," Baselitz said.

The inversions made Baselitz an international figure in the 1970s and 1980s, as the market and institutions that once treated him as scandalous increasingly positioned him as a pillar of European postwar art.

His public reputation, however, did not settle into quiet respectability.

He repeatedly sparked backlash with remarks about female painters, including a widely reported claim that women "don't paint very well".

He also confronted the limits Germany's history places on gesture and imagery: a wooden sculpture shown at the 1980 Venice Biennale was widely read as evoking a Nazi salute, a reading he denied.

He was married to Johanna Elke Kretzschmar, known as Elke, with whom he had two sons.

In later life, Baselitz painted huge canvases from his wheelchair and moved his brushes and paints in a rolling cart.

"The sensible thing, in my situation, would naturally be to say: 'I stick to small formats'," he told Spanish newspaper El Pais at age 87. "But of course I don't do what's sensible. What's right for me is the nonsensical."