Once on Civil War's Frontline, Lebanon Museum Sees New Life

People gather at the entrance of the National Museum of Beirut, in Beirut, Lebanon April 10, 2025. REUTERS/Mohamed Azakir
People gather at the entrance of the National Museum of Beirut, in Beirut, Lebanon April 10, 2025. REUTERS/Mohamed Azakir
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Once on Civil War's Frontline, Lebanon Museum Sees New Life

People gather at the entrance of the National Museum of Beirut, in Beirut, Lebanon April 10, 2025. REUTERS/Mohamed Azakir
People gather at the entrance of the National Museum of Beirut, in Beirut, Lebanon April 10, 2025. REUTERS/Mohamed Azakir

When Lebanon's civil war erupted 50 years ago this month, its national museum became a flashpoint of its capital's deadly frontline, with militants barricaded among ancient sarcophagi and sniping through historic mosaics.
Now, students and tourists roam through its artefacts - some still blackened by indoor campfires lit by those fighters - and into a new pavilion opened during Lebanon's most recent war last year, when Israel and armed group Hezbollah traded heavy fire.
For its admirers, the building not only houses the country's heritage, but also symbolizes its resilience.
"I hope these young people I see here also know what happened in the museum in 1975, because what happened here is something worthy of respect," said Lebanon's culture minister Ghassan Salameh, speaking to Reuters in the main museum hall.
"There is a right to forget. The Lebanese who want to forget the civil war – it's their right to do so. But there is also a duty to remember, so that we do not repeat it again, and again, and again."
The war erupted on April 13, 1975, after Christian gunmen fired on a bus carrying Palestinian fighters in Beirut - just a few kilometers from the museum, which first opened in 1942.
A frontline running directly adjacent to the museum split east Beirut from the west. After militants took up the museum as a barracks, the director of antiquities at the time, Maurice Chehab, ferried small artefacts to vaults at Lebanon's central bank and encased the larger pieces in reinforced concrete to protect them from shelling.
At least four major pieces were damaged, Salameh said. They are visible in the museum today, including a football-sized hole in a floor-to-ceiling 5th century mosaic used by snipers to target rival militants near the front.
The war lasted 15 years, leaving more than 100,000 dead and displacing hundreds of thousands more. Halfway through it, Israeli troops invaded all the way to Beirut and Hezbollah was founded the same year, vowing to push Israel out. In 2023, a new war erupted between the old foes, when Hezbollah launched rockets into Israel, triggering a year of tit-for-tat strikes until Israel escalated its air and ground campaign, leaving Hezbollah badly weakened by the end of 2024.
Even as that conflict was raging, the museum worked to open a new wing for rotating exhibitions. As construction was under way, archaeologists uncovered dozens of artefacts that Chehab had buried in the museum's backyard to protect them, said Sarkis Khoury, Lebanon's current director of antiquities.
He spoke to Reuters while standing in front of an outer wall damaged during the civil war that museum authorities had decided to preserve as a testament to its resilience.
"The things we left visible are a lesson for the future, because we are a country that should be a country of peace, a country of coexistence, because this is our history," said Sarkis Khoury, Lebanon's current director of antiquities.
"Its face is full of wounds and wrinkles, but this is a beautiful face for Lebanon," Khoury told Reuters, gesturing at the pockmarked wall.
Keeping the wall is a rare example of memory preservation in Lebanon, where other landmarks of the civil war have remained abandoned or were covered up by the rapid construction of high-rises once the conflict ended.
The post-war administration agreed a general amnesty for all political crimes perpetrated before the war's end, and most school curriculums opt not to teach its history. Asked whether Lebanon should one day establish a museum dedicated solely to the civil war, Salameh, the minister, said no - because it had only "produced destruction."
But he remained hopeful about his country's future.
"This country has been declared dead dozens, even hundreds of times... but this part of the Mediterranean has remained standing, with its specificities and its problems."
"It never ceases to be."



As Iran Diplomacy Picks Up, Rubio Tours Taj Mahal

United States Secretary of State Marco Rubio poses with his wife, Jeanette Rubio, during their visit to the Taj Mahal in Agra, India, Monday, May 25, 2026. Pool via Reuters
United States Secretary of State Marco Rubio poses with his wife, Jeanette Rubio, during their visit to the Taj Mahal in Agra, India, Monday, May 25, 2026. Pool via Reuters
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As Iran Diplomacy Picks Up, Rubio Tours Taj Mahal

United States Secretary of State Marco Rubio poses with his wife, Jeanette Rubio, during their visit to the Taj Mahal in Agra, India, Monday, May 25, 2026. Pool via Reuters
United States Secretary of State Marco Rubio poses with his wife, Jeanette Rubio, during their visit to the Taj Mahal in Agra, India, Monday, May 25, 2026. Pool via Reuters

As diplomacy intensifies on ending the Iran war, top US diplomat Marco Rubio was spending Monday not in negotiations but at India's world-famous monument to love, the Taj Mahal.

Rubio, on his first-ever visit to India, flew to Agra and spent 45 minutes at the Taj Mahal with his wife Jeanette, who usually shuns the spotlight.

"It's one of the wonders of the world," Rubio said of the Taj Mahal.

"I think it's important to show respect to the culture of the countries that you visit."

Under a blazing sun in 40C heat, Rubio removed the tie from his navy-blue suit, put his arm around Jeanette, who wore a flowing dress with elegant heels.

The couple posed for pictures on the bench from where Princess Diana was photographed alone in an iconic 1992 shot.

The US ambassador to India, Sergio Gor, a high-octane former aide to President Donald Trump, smiled and eagerly joined some of the couple's pictures.

The normally teeming street leading to the Taj Mahal were cleared for Rubio, with other tourists kept 100 meters away from him -- although it was only a partial shutdown unlike when Vice President JD Vance visited.

Rubio was not entirely away from Iranian influence at the Taj Mahal, whose domes and four-way charbagh gardens are heavily influenced by Persian architecture.

The Taj Mahal was built in the 17th century on orders of Mughal emperor Shah Jahan as a mausoleum for his beloved wife Mumtaz Mahal who died in childbirth.

The excursion is unusual for Rubio, who in nearly a year and a half on the job has preferred short, business-like trips and rarely done events outside of government meetings.

Rubio said he was taking advantage of a one-day break in his schedule before a meeting in New Delhi on Tuesday of the Quad -- Australia, India, Japan and the United States.

He will also visit the palace-filled city of Jaipur on Monday to tour the Amber Fort.

Rubio is visiting four cities over four days in India as he seeks to revive ties with a country successive US administrations saw as a like-minded partner in a world dominated by China's rise.

Trump has shaken up that approach since returning to office, temporarily imposing high tariffs, warming to both China and India's historic adversary Pakistan, curbing visas used by Indian professionals and reposting insulting language about Indian immigrants.

Trump, in remarks Sunday by speakerphone to a celebration in New Delhi for the 250th anniversary of US independence, insisted he was on board with the relationship, telling the crowd, "we've never been closer to India, and India can count on me 100 percent".


French Artist Begins Giant ‘Cave’ Art Inflation Over Paris’ Oldest Bridge

People walk along the Seine river next to "The Pont Neuf Cave," an inflated art installation by French street artist JR, on Paris' oldest bridge, the Pont Neuf, Thursday, May 21, 2026, which will be open to the public from June 6-28. (AP Photo/Michel Euler)
People walk along the Seine river next to "The Pont Neuf Cave," an inflated art installation by French street artist JR, on Paris' oldest bridge, the Pont Neuf, Thursday, May 21, 2026, which will be open to the public from June 6-28. (AP Photo/Michel Euler)
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French Artist Begins Giant ‘Cave’ Art Inflation Over Paris’ Oldest Bridge

People walk along the Seine river next to "The Pont Neuf Cave," an inflated art installation by French street artist JR, on Paris' oldest bridge, the Pont Neuf, Thursday, May 21, 2026, which will be open to the public from June 6-28. (AP Photo/Michel Euler)
People walk along the Seine river next to "The Pont Neuf Cave," an inflated art installation by French street artist JR, on Paris' oldest bridge, the Pont Neuf, Thursday, May 21, 2026, which will be open to the public from June 6-28. (AP Photo/Michel Euler)

The oldest bridge in Paris has begun to vanish this week, as the artist JR — who is known as the “French Banksy” — began inflating a giant “cave” over the Pont Neuf.

The monumental, rocky illusion is swallowing the 17th-century landmark, which has carried Parisians across the Seine for more than 400 years. By Thursday, it looked as if a prehistoric cliff had risen in the heart of the city.

The inflation process, which was carried out overnight — after being delayed by bad weather — is the most dramatic stage yet of a project more than a year in the making.

One of the most ambitious public artworks Paris has seen in decades, which has been funded by the sale of JR’s work and a handful of corporate partners, does not open to the public until June 6.

“We’re about to leave something pretty incredible in the middle of Paris,” JR told The Associated Press earlier this year at his studio in the city’s east, wearing his trademark hat and shades.

The transformation of the bridge has been documented by the AP since March with time-lapse cameras, including one fixed on a rooftop terrace high above the river, watching the bridge slowly disappear day by day.

From the outside, the installation looks like a rocky mass that “literally” breaks the landscape, said JR, who is famous for pasting enormous photographs on buildings, walls and rooftops around the world. This time he wanted Parisians to do something unusual on their busiest bridge: stop.

Visitors will be able to walk for free through a long, dark tunnel that lets in no daylight and where, according to JR, people “will lose track of time.”

The numbers are startling. The structure is 120 meters (393 feet) long and 18 meters (59 feet) tall — which is as high as a six-story building.

Yet it is built almost entirely from air — 80 fabric arches filled with 20,000 cubic meters of it — and weighs only about five tons. The fabric was hand stitched by 25 artisans in a village in Brittany.

Nothing digs into the historic stone.

Cut the air and the cliff would sink like a held breath — a collapse JR’s engineers spent weeks rehearsing in a hangar at Orly airport to be sure that if the power ever failed, the rock would come down gently.

The artwork, called La Caverne du Pont Neuf, is a tribute to a Parisian artistic legend.

In 1985, artist Christo and his wife, Jeanne-Claude, wrapped the same bridge in pale golden fabric — 13 kilometers of rope, a decade of arguing with city hall, three million visitors in two weeks. The act helped invent the idea of monumental art in modern cities.

A square beside the bridge now carries their names.

“It’s pretty hard to go after them,” JR said.

His idea, he said, is to bring “mineral and nature” back to the heart of the city. He is not covering the bridge but undressing it — sending the dressed stone back to the limestone quarries from which Paris itself was cut.

The cave is also a warning. JR built it as a nod to Plato’s allegory, in which prisoners mistake shadows on a wall for the real world.

“What are our caves today? Our phones,” he said. “Because we believe that our algorithm on social media is the reality.”

Then he walks straight into the contradiction: to enter his cave about screens, visitors raise their phones.

The tech company Snap has built an augmented-reality layer that shows what the eye cannot.
The sound is a low, mineral hum from Thomas Bangalter, formerly of Daft Punk — who was 10 the year Christo wrapped the bridge.

The cave will be open around the clock from June 6-28, closing the bridge to traffic and visible from the quays, from passing boats, even from the top of the Eiffel Tower.

It will coincide with Paris Fashion Week, World Music Day and the all-night Nuit Blanche arts festival.

When it comes down, the fabric will be reused or recycled. Air, JR likes to say, leaves no scar.
Then, like the golden wrapping 40 years before, the cave will be gone — and the Pont Neuf, older than the republic and older than the revolution, will reappear exactly as it was.


Winston Churchill's 'Playful' Paintings Go on Show in London

The 'Winston Churchill: The Painter' exhibition opens on Saturday at the Wallace Collection in London. Justin TALLIS / AFP
The 'Winston Churchill: The Painter' exhibition opens on Saturday at the Wallace Collection in London. Justin TALLIS / AFP
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Winston Churchill's 'Playful' Paintings Go on Show in London

The 'Winston Churchill: The Painter' exhibition opens on Saturday at the Wallace Collection in London. Justin TALLIS / AFP
The 'Winston Churchill: The Painter' exhibition opens on Saturday at the Wallace Collection in London. Justin TALLIS / AFP

As Britain's wartime leader, Winston Churchill was known for his stirring speeches, but a new London exhibition explores another side to his creativity -- as a passionate and prolific artist.

The exhibition opening Saturday at the Wallace Collection will be the most significant display of the statesman's paintings for more than 60 years, including over 50 canvases, many of them rarely seen in public.

Churchill first tried painting during World War I after he resigned from the government over the 1915 failed Dardanelles naval attack.

This was a "very difficult time in his life" when "he suddenly finds himself with all this unwanted leisure time", Lucy Davis, co-curator of the exhibition, told AFP.

"And he discovered painting as a way of releasing the stress, the anguish that the situation had caused him."

The museum presents a chronological survey starting with his first paintings, created with advice from renowned artist John Lavery, then canvases painted in the 1920s at Chartwell, the country house where Churchill lived with his family.

Largely self-taught while associating with well-known painters, Churchill quickly became interested in landscape painting and drew inspiration from holidays in the south of France to create brightly colored canvases dominated by blues and ochre.

- 'Loved the light' -

Churchill "saw painting as a spur to travel" and "just loved the light and warmth and atmosphere, which he captures so beautifully", said Davis.

A whole room is dedicated to canvases inspired by trips to Morocco, including "The Tower of the Koutoubia Mosque", the only painting that Churchill did during World War II. A gift to US President Franklin D. Roosevelt, the painting recently belonged to Hollywood star Angelina Jolie.

The exhibition ends with the postwar period when Churchill, defeated in a general election, began painting again and continued until his death in 1965, with some of his works going on display at the Royal Academy.

Churchill had previously shown paintings at various galleries, but always under an assumed name.

As a statesman, Churchill went down in history for his wartime leadership, but as an artist, he had little interest in depicting current world events, the curator stressed.

"He was a wartime leader. He was known for these very stirring wartime speeches. But in these paintings, you really see his joie de vivre, his witty side, his playful side."

One painting at the exhibition is an exception: "The Beach At Walmer", painted in 1938 as fears grew of imminent war.

It shows a sandy beach in southern England with bathers paddling. But in the foreground, a black cannon points at the sea, suggesting a looming threat.