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‘Anything Goes’: Yoshitomo Nara on His Creative Process as London Exhibition Opens

Japanese artist Yoshitomo Nara speaks during an interview at the largest European retrospective of his work at the Hayward Gallery in London, Britain, June 9, 2025. (Reuters)
Japanese artist Yoshitomo Nara speaks during an interview at the largest European retrospective of his work at the Hayward Gallery in London, Britain, June 9, 2025. (Reuters)
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‘Anything Goes’: Yoshitomo Nara on His Creative Process as London Exhibition Opens

Japanese artist Yoshitomo Nara speaks during an interview at the largest European retrospective of his work at the Hayward Gallery in London, Britain, June 9, 2025. (Reuters)
Japanese artist Yoshitomo Nara speaks during an interview at the largest European retrospective of his work at the Hayward Gallery in London, Britain, June 9, 2025. (Reuters)

Artworks by Yoshitomo Nara go on display in London this week in what organizers say is the largest European retrospective of the Japanese artist.

The show, running at the Hayward Gallery by the River Thames, features more than 150 works - drawings, paintings, sculptures, ceramics and installations - nodding to the longtime influences of Nara's works including music, nature, the importance of home and the peace movement.

"This is about 40 years' worth of my work," Nara told Reuters at a press preview on Monday.

"When I look at my work, I don't think what I'm trying to say has actually changed in that time. Whatever period I look at reflects a part of myself, which is why this exhibition is not done chronologically."

Nara, 65, is best known for his portraits of child-like characters with big gazing eyes.

"I think all the pictures I've created are like my reflections," he said when asked about them.

On display are plenty of those kinds of paintings and drawings as well as sculptures.

"Anything goes," says Nara, who was born in Aomori Prefecture in northern Japan and lived in Germany early in his career before moving back home, said of his creative process.

"I don't think about what I'm doing, but when I've done something good, I can feel the reason behind it almost like a kind of hindsight."

The show is an expanded version of a touring exhibition previously put on at the Guggenheim in Bilbao and Museum Frieder Burda in Baden-Baden.

"What’s quite interesting, I think, for audiences in London and in Europe overall (is)... we don't actually get to see Nara’s work in person that often," exhibition curator Yung Ma said.

"We’ve all seen his paintings and drawings on our devices...but I think all these kind of images, they don't do the works justice. So it's actually quite important to come and see because you can actually then understand (that)... he’s a really good painter...but you can actually really see the texture of the works and the colors and the layering of the paint."

The exhibition runs from June 10 to August 31.

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Culture

UNESCO Chair in Translating Cultures Hosts Lectures on Safeguarding Intangible Cultural Heritage

The program was presented as an advanced knowledge initiative that combined theoretical perspectives with practical application - SPA
The program was presented as an advanced knowledge initiative that combined theoretical perspectives with practical application - SPA
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UNESCO Chair in Translating Cultures Hosts Lectures on Safeguarding Intangible Cultural Heritage

The program was presented as an advanced knowledge initiative that combined theoretical perspectives with practical application - SPA
The program was presented as an advanced knowledge initiative that combined theoretical perspectives with practical application - SPA

The United Nations Educational, Scientific and Cultural Organization (UNESCO) Chair in Translating Cultures at the King Faisal Center for Research and Islamic Studies (KFCRIS), with support from the Literature, Publishing, and Translation Commission, organized a training course and a series of specialized lectures on the translation and safeguarding of intangible cultural heritage, SPA reported.

The program was presented as an advanced knowledge initiative that combined theoretical perspectives with practical application, opening space for in-depth discussion of the challenges of translating intangible heritage as a living, evolving form of culture closely tied to its cultural, social, and performative contexts.

The course and lectures adopted a comprehensive approach that views translation as a cultural tool for preserving oral memory and building bridges between local specificity and the global sphere.

This approach was reflected through applied models, field experiences, and contemporary conceptual frameworks.

Culture

Ancient Egyptian Pharaoh’s Boat Is Being Reassembled in Public at Grand Egyptian Museum

People walk next to King Khufu's boat gem, also known as the Solar Boat, as work to restore the second solar boat has started with wooden planks part of the 1,650-piece structure being installed on a metal frame through Egyptian-Japanese cooperation with two Japanese universities, marking the start of preparations for the second boat's public display at the Grand Egyptian Museum (GEM), near the Giza Pyramid Complex, in Giza, Egypt, December 23, 2025.
People walk next to King Khufu's boat gem, also known as the Solar Boat, as work to restore the second solar boat has started with wooden planks part of the 1,650-piece structure being installed on a metal frame through Egyptian-Japanese cooperation with two Japanese universities, marking the start of preparations for the second boat's public display at the Grand Egyptian Museum (GEM), near the Giza Pyramid Complex, in Giza, Egypt, December 23, 2025.
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Ancient Egyptian Pharaoh’s Boat Is Being Reassembled in Public at Grand Egyptian Museum

People walk next to King Khufu's boat gem, also known as the Solar Boat, as work to restore the second solar boat has started with wooden planks part of the 1,650-piece structure being installed on a metal frame through Egyptian-Japanese cooperation with two Japanese universities, marking the start of preparations for the second boat's public display at the Grand Egyptian Museum (GEM), near the Giza Pyramid Complex, in Giza, Egypt, December 23, 2025.
People walk next to King Khufu's boat gem, also known as the Solar Boat, as work to restore the second solar boat has started with wooden planks part of the 1,650-piece structure being installed on a metal frame through Egyptian-Japanese cooperation with two Japanese universities, marking the start of preparations for the second boat's public display at the Grand Egyptian Museum (GEM), near the Giza Pyramid Complex, in Giza, Egypt, December 23, 2025.

A boat belonging to an Egyptian pharaoh is being assembled in full view at the Grand Egyptian Museum’s exhibition hall.

Staff began piecing together the cedarwood boat, one of two that were found that belong to King Khufu, Tuesday morning as dozens of visitors watched.

The assembly of the 42-meter (137-foot) -long vessel, which sits next to its already-assembled twin that has been on display, is expected to take around four years, according to Issa Zeidan, head of restoration at the Grand Egyptian Museum. It contains 1,650 wooden pieces.

King Khufu ruled ancient Egypt more than 4,500 years ago and built the Great Pyramid of Giza.

“You’re witnessing today one of the most important restoration projects in the 21st century,” said Tourism and Antiquities Minister Sherif Fathy, who attended the event.

The $1 billion museum, also known as GEM, was touted as the world’s largest when it was lavishly inaugurated last month. It's home to nearly 50,000 artifacts, including the collection of treasures from the tomb of the famed King Tutankhamun, which was discovered in 1922. The museum, located near the pyramids at the edge of Cairo, is expected to boost Egypt’s tourism revenues and help bolster its economy.

The boat was one of two discovered in 1954, opposite the southern side of the Great Pyramid. The excavation of its wooden parts began in 2014, according to the museum’s website.

The exact purpose of the boats remains unclear, but experts believe they were either used to transport King Khufu’s body during his funeral or were meant to be used for his afterlife journey with the sun god Ra, according to the museum.

Culture

Louvre Museum Installs Security Bars on Balcony Used in October’s Heist

Workers install metal security bars over the window where thieves broke into the Louvre museum on Oct.19, Tuesday Dec.23, 2025 in Paris. (AP)
Workers install metal security bars over the window where thieves broke into the Louvre museum on Oct.19, Tuesday Dec.23, 2025 in Paris. (AP)
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Louvre Museum Installs Security Bars on Balcony Used in October’s Heist

Workers install metal security bars over the window where thieves broke into the Louvre museum on Oct.19, Tuesday Dec.23, 2025 in Paris. (AP)
Workers install metal security bars over the window where thieves broke into the Louvre museum on Oct.19, Tuesday Dec.23, 2025 in Paris. (AP)

France's Louvre museum on Tuesday installed security bars on the balcony that burglars used to break in and steal some of the crown jewels.

Four people broke into the world's most visited museum on October 19 and escaped with jewels worth an estimated $102 million, exposing glaring security gaps and revealing its deteriorating state.

They parked a movers' lift outside the museum, jumped on the balcony of the Apollo gallery, smashed a window, cracked open display cases ‌with angle grinders ‌and fled on the ‌back ⁠of scooters driven by ‌accomplices in a heist lasting less than 7 minutes.

On Tuesday, a crane lifted the security grille into place to seal the glass door leading to the balcony.

"The Louvre is learning all the lessons from the theft of October 19 and is continuing its transformation ⁠and the strengthening of its security architecture," the museum said in a ‌post on X.

It also said a ‍mobile police squad was ‍now present at the roundabout in front of ‍the iconic glass pyramid, and 100 more cameras would be deployed around the museum next year.

Police have identified eight suspects in connection with the heist, though the jewels are still missing.

The break-in raised awkward questions about security at the Louvre, which is home to ⁠priceless artworks such as the Mona Lisa.

Louvre officials have admitted there was inadequate security camera coverage of the outside walls of the museum and no coverage of the balcony involved in the break-in.

The heist was one of several woes to hit the museum in recent weeks: another gallery, adjacent to the Apollo, was closed because of structural weakness, a water leak damaged books at the Egyptian antiquities department and the museum ‌was partly closed for several days after its staff went on strike.