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Banksy Work ‘The Migrant Child’ Removed from Venetian Palazzo for Restoration and Future Display 

The Bansky work "The Migrant Child" is partially submerged in Venice, Italy, Nov. 15, 2019. (AP) 
The Bansky work "The Migrant Child" is partially submerged in Venice, Italy, Nov. 15, 2019. (AP) 
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Banksy Work ‘The Migrant Child’ Removed from Venetian Palazzo for Restoration and Future Display 

The Bansky work "The Migrant Child" is partially submerged in Venice, Italy, Nov. 15, 2019. (AP) 
The Bansky work "The Migrant Child" is partially submerged in Venice, Italy, Nov. 15, 2019. (AP) 

Art restorers have removed a deteriorating piece of graffiti by the street artist Banksy titled “The Migrant Child” from the side of a building overlooking a Venetian canal to preserve the work for future public display, officials said Thursday.

The removal from the wall of Palazzo San Pantalon was carried out in consultation with people close to the secretive British street artist, according to the Venice-based bank Banca Ifis' art program that promotes art and culture.

The artwork depicting a shipwrecked child holding a pink smoke bomb and wearing a lifejacket appeared along Rio di San Pantalon in Venice in May 2019, and was acknowledged by Banksy. Marked on online maps, it has become a tourist destination.

But six years of neglect had led to the deterioration of about a third of the work, the bank said.

The restoration is being overseen by Federico Borgogni, who previously removed dust and cleaned the surface before detaching a section of the palazzo's facade overnight Wednesday, Banca Ifis said in a statement. The bank is financing the project, but didn't release the cost of the operation.

The bank intends to display the work to the public as part of free cultural events organized by Ifis art once restoration is completed. No time frame was given.

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Culture

Cultural and Heritage Events Launched at King Abdulaziz Palace in Qibah, Qassim

The activities will run through March 27 to revitalize the palace - SPA
The activities will run through March 27 to revitalize the palace - SPA
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Cultural and Heritage Events Launched at King Abdulaziz Palace in Qibah, Qassim

The activities will run through March 27 to revitalize the palace - SPA
The activities will run through March 27 to revitalize the palace - SPA

The Imam Turki bin Abdullah Royal Reserve Development Authority, in collaboration with the Heritage Commission, has launched a series of cultural and heritage events at the historic King Abdulaziz Palace in Qibah, Qassim Region.

The activities, running through March 27, 2026, aim to revitalize the palace as a vibrant cultural platform and strengthen the community’s connection to Saudi national identity.

The daily program, held from 3:00 pm to 10:00 pm, includes live folk art performances, such as the Saudi Ardah, along with interactive experiences for all age groups. Outdoor areas are designated for children, offering educational and recreational activities that help preserve cultural values across generations, SPA reported.

Visitors can also explore archaeological artifacts that reflect the region’s social and economic history. The event further provides a platform for families engaged in cottage industries and artisans to showcase traditional handicrafts, supporting local economic empowerment and highlighting the richness of regional heritage through a modern, interactive approach.

The authority confirmed that activating King Abdulaziz Palace in Qibah is part of its strategy to highlight historical sites within its geographical scope. It aims to transform them into active cultural and tourist destinations that promote cultural engagement and strengthen national identity, in coordination with relevant authorities.

Culture

Heritage, Arts, and Entertainment Mark Sakaka's Eid Al-Fitr Celebrations

 The event featured booths showcasing local artisans, food, and a photography corner - SPA
 The event featured booths showcasing local artisans, food, and a photography corner - SPA
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Heritage, Arts, and Entertainment Mark Sakaka's Eid Al-Fitr Celebrations

 The event featured booths showcasing local artisans, food, and a photography corner - SPA
 The event featured booths showcasing local artisans, food, and a photography corner - SPA

Eid Al-Fitr celebrations organized by Al-Jouf Municipality wrapped up after three days of events at Sakaka Public Park.

The festivities drew large crowds across three main zones, including a traditional heritage tent, a games and activities area, and a children’s zone featuring puppet shows, SPA reported.

The event also featured booths showcasing local artisans, food, and a photography corner.

Visitors were entertained by a stage program, featuring the traditional Saudi Ardah dance, live oud and organ performances, and poetry evenings.

Culture

Painting that Shocked German Society Finally Returns to Berlin

Mors Imperator (Death is the Ruler) is seen as a powerful allegory of death and power, and was misinterpreted in the late 19th century (the Alte Nationalgalerie museum)
Mors Imperator (Death is the Ruler) is seen as a powerful allegory of death and power, and was misinterpreted in the late 19th century (the Alte Nationalgalerie museum)
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Painting that Shocked German Society Finally Returns to Berlin

Mors Imperator (Death is the Ruler) is seen as a powerful allegory of death and power, and was misinterpreted in the late 19th century (the Alte Nationalgalerie museum)
Mors Imperator (Death is the Ruler) is seen as a powerful allegory of death and power, and was misinterpreted in the late 19th century (the Alte Nationalgalerie museum)

More than 100 years after Mors Imperator caused a scandal in 1887 amid fears it mocked the German kaiser, the painting is being displayed in a state museum in Berlin, according to The Guardian.

Wrapped in a cloak with ermine fur and wearing a jagged iron crown, a hulking skeleton rests one foot on a globe and knocks over a royal throne with a dramatic flick of its ivory wrist.

Entitled Mors Imperator (“Death is the Ruler”), the German artist Hermione von Preuschen’s 1887 symbolical painting was meant to express the transience of fame and power.

But authorities feared the picture could be seen as mocking the aging German Emperor Wilhelm I, who then had recently turned 90, and refused to accept its submission to the Berlin Academy of the Arts’ annual exhibition that year.

More than 100 years after the painting’s rejection and subsequent display in the 19th-century equivalent of a pop-up gallery caused a stir in Berlin society, Mors Imperator is returning to the German capital.

From Sunday until mid-November, the 2.5-meter by 1.3-meter painting will be shown in a state institution at last, at the Alte Nationalgalerie museum.

The scandal around von Preuschen’s work illustrates how prone single-ruler autocracies can be to paranoia about hidden meanings in art. According to the Berlin exhibition’s curator, an offense against the monarchy was neither what the artist intended nor how it was perceived by its supposed target.

Born in Darmstadt in 1854, von Preuschen was a poet, world traveler and painter known for her large-scale and flamboyant historical still life pictures. At the 1896 International Women’s Congress in Berlin she gave an impassioned speech calling for women to be allowed education at artistic academies.

“Hermione von Preuschen was bold, not short of self-belief, and an early advocate of female emancipation,” said Birgit Verwiebe, an art historian. “But she was not a political person, and there is no record of her having any anti-monarchical instincts. After all, she came from nobility herself.”