Street Art Pops Up Throughout Paris

French street artist Marko93 sprays paint on a piece of artwork, during the 2024 Summer Olympics, Sunday, July 28, 2024, in Paris, France. (AP Photo/Yasin Dar)
French street artist Marko93 sprays paint on a piece of artwork, during the 2024 Summer Olympics, Sunday, July 28, 2024, in Paris, France. (AP Photo/Yasin Dar)
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Street Art Pops Up Throughout Paris

French street artist Marko93 sprays paint on a piece of artwork, during the 2024 Summer Olympics, Sunday, July 28, 2024, in Paris, France. (AP Photo/Yasin Dar)
French street artist Marko93 sprays paint on a piece of artwork, during the 2024 Summer Olympics, Sunday, July 28, 2024, in Paris, France. (AP Photo/Yasin Dar)

Paris is getting a colorful splash of Olympic creative spirit with nearly 30 vibrant street art pieces that have popped up on bustling metro station walls, a large billboard at the airport and in front of city hall.
One shows a drawing of French fencer Ysaora Thibus in action. Another has canoers paddling down the Seine River. Some others include people enjoying themselves in a busy district. The original art was spread throughout Paris and other nearby host cities around the Olympic and Paralympic sites.
“During this time of the Olympics, it’s a lot of energy and people coming from all over the world,” said New York native JonOne, who has lived in Paris for the past three decades and is viewed in the street art world as a graffiti pioneer. He's one of six renowned street artists from four continents whose work is currently on display at train stations, airports, taxis, digital screens and billboards.
The artists were selected through a campaign spearheaded by Visa to help support small businesses. They hail from France (Marko 93 and Olivia De Bona), Brazil (Alex Senna), Australia (Vexta) and the United States (Swoon).
“Why not use street art?” said JonOne, 60, whose artwork can be found in several places in Paris including the Palais Royal–Musee du Louvre station. It took two months with five collaborators to finish the blue, white and red abstract expressionist-style graffiti, which covers 250 square meters (300 square yards) of the wall at the busy station.
“It projects a lot of energies and youth culture,” he said. “It’s a good moment to show our artwork.”
The campaign was designed as an open-air exhibition curated by Nicolas Laugero Lasserre, an expert in urban art. The 28 pieces of original artwork will remain on display until Sept. 8.
“Just like high-level athletes, artists share values of tolerance, open-mindedness, questioning and self-surpassing,” said Lasserre, who has organized over 50 exhibitions with public and private institutions, including an exhibition at the Paris City Hall. “Associating art and sport is one of the cornerstones of Olympism.”
Each creation highlights the spirit of the neighborhoods — such as Saint-Denis, Montmartre and Rue Montorgueil — capturing the vibrancy of cafes, bookstores and shops that have become an essential fabric of Paris and the wider Ile-de-France region. They can also be found at the airports of Lille, Lyon and Marseille, hosts of some Olympic events.
“We asked the artists to show us their version of Paris in the most authentic way,” said Juan Arturo Herrera, a business administrator and marketing executive at Visa International. Last month, he carried the Olympic flame over a 200-meter course in eastern France.
“Street art is the most accessible of arts,” he said. “It's universal. We've seen it for decades now in cities. It has made its way through museums and we wanted to bring it back out. We see this as the biggest exhibition of open-air art in the public space.”
De Bona, a Parisian, feels proud to bring her artwork to her hometown, family and visitors from around the world.
“It was so moving,” she said. “I see how the art makes my city so beautiful. It's a privilege to represent France for all these people who are coming to Paris from all over the world.”
De Bona, 39, remembered when street art and graffiti were not widely accepted by the masses. But now, she's witnessed a positive shift in the perception and within the industry, which was once male-dominated.
“People need pictures in the streets,” she said. “It needs to be welcoming the arts. We are the bridge between people who don't think it fits in the museum. We bring art to the people. This is our way to express ourselves and exist.”
Marko 93 said his passion for street art kept him pushing through the words of skeptics. At a young age, he was intrigued by watching the evolution of graffiti during the 1980s hip-hop era in New York, which he called the “promised land” of graffiti.
“It's all about perseverance,” said the 51-year-old during his live performance, painting a fencer along the Seine. “Art is also about perseverance. This passion pushes us to move forward and beyond our limits.”
One day, JonOne would like to see arts reintroduced as competition at the Olympics.
Art competitions first came into fruition at the 1912 Olympics in Stockholm, with medals awarded in five categories: architecture, literature, music, painting and sculpture. The International Olympic Committee ended the competitions in the 1948 Games, and an attempt to bring it back was denied four years later.
“Artists are like athletes, too,” JonOne said. “I respect athletes in basketball and runners. Art is not really a sport, but it should be included in the Olympics. Just surviving as an artist is an Olympic sport.”



Visual Arts Commission Announces 'Bedayat: Beginnings of Saudi Art Movement' Exhibition

Visual Arts Commission Announces 'Bedayat: Beginnings of Saudi Art Movement' Exhibition
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Visual Arts Commission Announces 'Bedayat: Beginnings of Saudi Art Movement' Exhibition

Visual Arts Commission Announces 'Bedayat: Beginnings of Saudi Art Movement' Exhibition

The Visual Arts Commission has announced "Bedayat: Beginnings of Saudi Art Movement"—a seminal exhibition that celebrates and documents the formative years of Saudi Arabia's art scene and the emergence of a pioneering generation of artists between the 1960s and 1980s, SPA reported.

The exhibition will be on view from January 27 through April 11, 2026, at the National Museum of Saudi Arabia in Riyadh.
The exhibition traces the evolution of artistic practices in the Kingdom, as shaped by the cultural, social, and economic transformations that began in the mid-twentieth century.

Extensive research initiated by the Visual Arts Commission—encompassing more than 80 site visits as well as 120 comprehensive artist reports and recordings from 50 interviews—informs the exhibition. Developed with an advisory team that includes artist Abdulrahman Alsuliman, Dr. Mohammed Alrusais, and Dr. Charbel Dagher, the research draws on academic expertise alongside firsthand accounts from artists and key figures of the period to capture early exhibition history, educational activity, and the locally-rooted language of expression that emerged during these decades.

Curated by Qaswra Hafez, the exhibition spans painting, sculpture, works on paper, and diverse archival materials—many exhibited publicly for the first time. Focusing on the pivotal decades of the 1960s through 1980s, it charts how practitioners of this generation engaged Saudi Arabia’s deep-rooted heritage while participating in international artistic exchange. Developing distinctive visual languages that brought modernist currents into dialogue with local contexts, they established cultural institutions and artist networks via grassroots initiatives alongside public and private patronage and support for the visual arts.

Presented at the National Museum of Saudi Arabia in the historic Al Murabba’a district, the exhibition brings together the work of key figures across three decades, highlighting a pivotal period in which modern and abstract artistic practices emerged within the Kingdom.

Bedayat: Beginnings of Saudi Art Movement is structured in three parts: the Foundation of the Modern Art Movement in Saudi Arabia, which studies the emergence of the visual arts scene in the interplay between individual initiative and state support; Currents of Modernity, which explores the artistic concerns that shaped Saudi artistic production; and Modernist Pioneers, which spotlights four artists—Mohammed Al-Saleem, Safeya Binzagr, Mounirah Mosly, and Abdulhalim Radwi.

Reflecting on the significance of the exhibition, CEO of the Visual Arts Commission Dina Amin stated: “We celebrate here the history of modern art in Saudi Arabia, and we are proud to foreground its rich legacy by honoring the pioneering figures as well as the public and private initiatives whose collective efforts shaped the art scene of this era. We hope this exhibition contributes to an enduring continuum, offering meaningful access to the depth and diversity of our visual arts history.”

Curator of the exhibition Qaswra Hafez said: “Through Bedayat, we are presenting a comprehensive and research-driven account of Saudi modern art. Through archival study, pioneering artworks, and firsthand narratives, we are preserving the foundations of our modern art movement for future generations. This project is both a tribute to our early artists and a lasting cultural legacy that will continue to inform and inspire audiences across the Kingdom and beyond.”

Bedayat: Beginnings of Saudi Art Movement forms part of the Visual Arts Commission’s broader efforts to archive and document Saudi visual culture, advancing the historical record and supporting ongoing research in the field.

The exhibition will be followed by a comprehensive publication and an original documentary film, offering an in-depth perspective on the foundations of Saudi modern art and a long-lasting resource for the public and researchers. An extensive public program of talks, workshops, and masterclasses will further explore key themes, including early art education, the role of pioneering teachers and institutions, and archival preservation practices.


Smithsonian’s Asian Art Museum Director Highlights Cultural Exchange with Saudi Arabia's RCU

The Royal Commission for AlUla (RCU) logo
The Royal Commission for AlUla (RCU) logo
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Smithsonian’s Asian Art Museum Director Highlights Cultural Exchange with Saudi Arabia's RCU

The Royal Commission for AlUla (RCU) logo
The Royal Commission for AlUla (RCU) logo

National Museum of Asian Art Director at the Smithsonian Institution Chase Robinson discussed cooperation with the Royal Commission for AlUla (RCU) to promote cultural exchange and mutual understanding between museum professionals and researchers in Saudi Arabia and the United States, while expanding global knowledge of the heritage and ancient civilizations of the northern Arabian Peninsula.

In an interview with the Saudi Press Agency, Robinson described the museum’s relationship with the Kingdom as “long-standing,” formalized through a memorandum of understanding signed in May 2025 with the RCU.

He stressed that the agreement “is built on many years of relations with the Kingdom” and reflects both institutions’ commitment to preserving cultural heritage and boosting cultural exchange between the two countries.

He noted that the agreement marks the beginning of a new chapter of constructive cooperation, highlighting the pivotal role of arts and heritage in strengthening cultural dialogue among peoples of different regions and historical backgrounds, and in making AlUla’s heritage accessible to the world, thereby supporting the objectives of Saudi Vision 2030.

Robinson indicated that the collaboration between the museum and the RCU includes key components such as designing an exhibition centered on the recently discovered monumental statue at the archaeological site of Dadan, conducting scientific research and conservation studies on the newly discovered statue, and examining the archaeological context and historical development of the Dadan site and its connection to the city of AlUla.

He added that the project is expected to culminate in an exhibition likely to be held in 2029.

The museum, which opened in 1923 as the first national art museum in the United States and the country’s first museum dedicated to Asian art, houses collections of Islamic art from Central Asia, the Middle East, and North Africa.

Notable recent exhibitions include “Roads of Arabia: Archaeology and History of the Kingdom of Saudi Arabia” (2012–2013) and “The Art of the Quran” (2016).


Culture Being Strangled by Kosovo's Political Crisis

The cinema has been waiting for much-needed repairs for years. Armend NIMANI / AFP
The cinema has been waiting for much-needed repairs for years. Armend NIMANI / AFP
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Culture Being Strangled by Kosovo's Political Crisis

The cinema has been waiting for much-needed repairs for years. Armend NIMANI / AFP
The cinema has been waiting for much-needed repairs for years. Armend NIMANI / AFP

Kosovo's oldest cinema has been dark and silent for years as the famous theater slowly disintegrates under a leaky roof.

Signs warn passers-by in the historic city of Prizren that parts of the Lumbardhi's crumbling facade could fall while it waits for its long-promised refurbishment.

"The city deserves to have the cinema renovated and preserved. Only junkies gathering there benefit from it now," nextdoor neighbor butcher Arsim Futko, 62, told AFP.

For seven years, it waited for a European Union-funded revamp, only for the money to be suddenly withdrawn with little explanation.

Now it awaits similar repairs promised by the national government that has since been paralyzed by inconclusive elections in February.

And it is anyone's guess whether the new government that will come out of Sunday's snap election will keep the promise.

'Collateral damage'

Cinema director Ares Shporta said the cinema has become "collateral damage" in a broader geopolitical game after the EU hit his country with sanctions in 2023.

The delayed repairs "affected our morale, it affected our lives, it affected the trust of the community in us," Shporta said.

Brussels slapped Kosovo with sanctions over heightened tensions between the government and the ethnic Serb minority that live in parts of the country as Pristina pushed to exert more control over areas still tightly linked to Belgrade.

Cultural institutions have been among the hardest-hit sectors, as international funding dried up and local decisions were stalled by the parliamentary crisis.

According to an analysis by the Kosovo think tank, the GAP Institute for Advanced Studies, sanctions have resulted in around 613 million euros ($719 million) being suspended or paused, with the cultural sector taking a hit of 15-million-euro hit.

'Ground zero'

With political stalemate threatening to drag on into another year, there are warnings that further funding from abroad could also be in jeopardy.

Since February's election when outgoing premier Albin Kurti topped the polls but failed to win a majority, his caretaker government has been deadlocked with opposition lawmakers.

Months of delays, spent mostly without a parliament, meant little legislative work could be done.

Ahead of the snap election on Sunday, the government said that more than 200 million euros ($235 million) will be lost forever due to a failure to ratify international agreements.

Once the top beneficiary of the EU Growth Plan in the Balkans, Europe's youngest country now trails most of its neighburs, the NGO Group for Legal and Political Studies' executive director Njomza Arifi told AFP.

"While some of the countries in the region have already received the second tranches, Kosovo still remains at ground zero."

Although there have been some enthusiastic signs of easing a half of EU sanctions by January, Kurti's continued push against Serbian institutions and influence in the country's north continues to draw criticism from both Washington and Brussels.

'On the edge'

Across the river from the Lumbardhi, the funding cuts have also been felt at Dokufest, a documentary and short film festival that draws people to the region.

"The festival has had to make staff cuts. Unfortunately, there is a risk of further cuts if things don't change," Dokufest artistic director Veton Nurkollari said.

"Fortunately, we don't depend on just one source because we could end up in a situation where, when the tap is turned off, everything is turned off."

He said that many in the cultural sector were desperate for the upcoming government to get the sanctions lifted by ratification of the agreements that would allow EU funds to flow again.

"Kosovo is the only one left on the edge and without these funds."