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.”



Thee Ain Village: Architectural Masterpieces on the Brink of World Heritage Status

Thee Ain, Saudi Arabia (Asharq Al-Awsat)
Thee Ain, Saudi Arabia (Asharq Al-Awsat)
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Thee Ain Village: Architectural Masterpieces on the Brink of World Heritage Status

Thee Ain, Saudi Arabia (Asharq Al-Awsat)
Thee Ain, Saudi Arabia (Asharq Al-Awsat)

Nestled in the highlands of Tihamah, the Saudi village of Thee Ain captivates with its unique characteristics and meticulously paved streets and alleys.
As visitors wander through, the village’s architectural history unfolds, revealing the legacy of its 49 pyramid-shaped palaces built by skilled artisans centuries ago.
These structures have become a focal point for researchers and heritage enthusiasts intrigued by traditional construction methods.
The village’s rich cultural and natural heritage is now eagerly awaiting its potential inclusion on UNESCO’s World Heritage List.
The Saudi Heritage Commission has worked diligently to prepare Thee Ain for this prestigious designation, transforming it into a tourist destination that attracts history enthusiasts and researchers.
The village’s geographical location adds to its historical and cultural significance, enhancing its appeal to visitors.
To fully grasp the beauty of Thee Ain’s structures, it’s essential to know they were built on a rocky hilltop 800 meters above sea level. Ancient builders carefully planned every detail, using early forms of “blueprints” to ensure that the buildings, some reaching up to four stories, fit perfectly with the available space.
Despite centuries of change and harsh weather, these buildings have remained sturdy and resilient. Today, they draw tourists from around the world, showcasing a rich architectural heritage that has evolved from a local gem to a global attraction.
Yahya Aref, a heritage expert and member of the Saudi Urban Heritage Association, told Asharq Al-Awsat that Thee Ain, spanning 15,354 square meters, was once called the “Marble Village” due to its rich marble deposits.
The village, built centuries ago, sits on a white cliff and features colorful, layered marble stones.
Aref explained that the village is designed in a pyramid-like shape with three levels. The top level includes forts for watching over farmland and providing protection. The central area houses the palaces, buildings, pathways, and a mosque.
He added that Thee Ain’s construction style is influential across the Arabian Peninsula.
Heritage buildings in the village start with a broad base that narrows by about 7 inches as it rises.
This design boosts the building’s durability. Additionally, small openings in the walls, which are wide inside, allowed residents to use sunlight to confuse and deter attackers.