Gaza Antiquities Rescued Ahead of Israeli Strike

(FILES) Palestinian students work at the archaeological site of Saint Hilarion, also known as Tell Umm Amer, in the central Gaza Strip on March 7, 2023. (Photo by Mahmud HAMS / AFP)
(FILES) Palestinian students work at the archaeological site of Saint Hilarion, also known as Tell Umm Amer, in the central Gaza Strip on March 7, 2023. (Photo by Mahmud HAMS / AFP)
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Gaza Antiquities Rescued Ahead of Israeli Strike

(FILES) Palestinian students work at the archaeological site of Saint Hilarion, also known as Tell Umm Amer, in the central Gaza Strip on March 7, 2023. (Photo by Mahmud HAMS / AFP)
(FILES) Palestinian students work at the archaeological site of Saint Hilarion, also known as Tell Umm Amer, in the central Gaza Strip on March 7, 2023. (Photo by Mahmud HAMS / AFP)

Nearly three decades of archaeological finds in Gaza were hurriedly evacuated Thursday from a Gaza City building threatened by an Israeli strike, an official in charge of the antiquities told AFP.

"This was a high-risk operation, carried out in an extremely dangerous context for everyone involved -- a real last-minute rescue," said Olivier Poquillon, director of the French Biblical and Archaeological School of Jerusalem (EBAF), whose storehouse housed the relics.

On Wednesday morning, Israeli authorities ordered EBAF -- one of the oldest academic institutions in the region -- to evacuate its archaeological storehouse located on the ground floor of a residential tower in Gaza City that was due to be targeted.

The Israeli army did not confirm the warning when asked by AFP, but several sources said France, UNESCO and the Latin Patriarchate of Jerusalem played a key role in securing a brief reprieve that allowed most of the artifacts to be removed.

"With almost no international actors left on the ground, no infrastructure, nothing functioning, we had to improvise transport, labor and logistics," said Poquillon.

The evacuation, he added, was carried out in strict secrecy, with "the overriding concern, as a religious organization, of not endangering human lives", as Israeli military pressed operations in the territory's largest urban hub.

The depot contained around 180 cubic meters of finds from Gaza's five main archaeological sites, including the fourth-century Saint Hilarion Monastery, listed as a UNESCO World Heritage site.

All of these sites have been damaged, EBAF said, expressing concern for "unique" mosaics left exposed despite their fragility.

Poquillon said Gaza has "an extremely ancient heritage, very precious for the region, showing the succession and coexistence of peoples, cultures and religions.”

Of Gaza's two museums, one has been destroyed and the other heavily damaged since the war erupted nearly two years ago.

Researchers told AFP that aside from scattered ruins highly vulnerable to bombardment, the EBAF storehouse was the only significant repository of artifacts left in the Palestinian territory.

The rediscovery of Gaza's past began in the wake of the 1993 Oslo accords.

Two years later, the newly created Gaza antiquities service opened its first archaeological dig in cooperation with EBAF, unearthing remnants of the ancient Greek port of Anthedon and a Roman necropolis.

Excavations stalled after Hamas seized power in 2007 and Israel imposed a blockade, resuming years later with support from the British Council and French NGO Premiere Urgence Internationale (PUI).

Now, with Israel contemplating a full takeover of Gaza and ceasefire talks stalled, archaeologists say prospects for renewed excavations are remote.

UNESCO, which has already identified damage to 94 heritage sites in Gaza using satellite images, including the 13th-century Pasha's Palace, has not yet been able to take a full inventory.

"We saved a large part, but in a rescue you always lose things, and you always face painful choices," said Rene Elter, an archaeologist affiliated with EBAF and scientific coordinator for PUI.

The depot, he said, was especially valuable because collections had been classified systematically.

"Many items have been broken or lost, but they had been photographed or drawn, so the scientific information is preserved," Elter explained.

"Perhaps that will be the only trace that remains of Gaza's archaeology -- in books, publications, libraries."



Monumental Art Displayed in Shade of Egypt's Pyramids

An art installation, "The Shen" by Mert Ege Kose, is displayed near the Giza pyramid complex, in Giza, Egypt, 11 November 2025. (EPA)
An art installation, "The Shen" by Mert Ege Kose, is displayed near the Giza pyramid complex, in Giza, Egypt, 11 November 2025. (EPA)
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Monumental Art Displayed in Shade of Egypt's Pyramids

An art installation, "The Shen" by Mert Ege Kose, is displayed near the Giza pyramid complex, in Giza, Egypt, 11 November 2025. (EPA)
An art installation, "The Shen" by Mert Ege Kose, is displayed near the Giza pyramid complex, in Giza, Egypt, 11 November 2025. (EPA)

Installations by renowned international artists including Italy's Michelangelo Pistoletto and Portugal's Alexandre Farto have been erected in the sand under the great pyramids of Giza outside Cairo.

The fifth edition of the contemporary art exhibition "Forever is Now" is due to run to December 6.

The 92-year-old Pistoletto's most famous work, Il Terzo Paradiso, comprises a three-meter-tall mirrored obelisk and a series of blocks tracing out the mathematical symbol for infinity in the sand.

"We have done more than 2,000 events all around the world, on five continents, in 60 nations," said Francesco Saverio Teruzzi, construction coordinator in Pistoletto's team.

"There is an estimate that it's more or less five million people reached by the message of the Third Paradise."

The Franco-Beninese artist King Houndekpinkou presented "White Totem of Light", a column composed of ceramic fragments recovered from a factory in Cairo.

"It's an incredible opportunity to converse with 4,500 years -- or even more -- of history," he told AFP.

South Korean artist Jongkyu Park used the measurements of the Great Pyramid of Giza to create the geometric structures of his installation "Code of the Eternal".

A thousand small cylindrical acrylic mirrors planted in the sand compose a Morse code poem imagining a dialogue between Tangun, the legendary founder of the first Korean kingdom, and an Egyptian pharaoh.

Farto, better known as Vhils, collected doors in Cairo and elsewhere in the world for a bricolage intended to evoke the archaeological process.

Six other artists, including Turkey's Mert Ege Kose, Lebanon's Nadim Karam, Brazil's Ana Ferrari, Egypt's Salha Al-Masry and the Russian collective "Recycle Group", are also taking part.


Saudi Culture Ministry Announces Third Edition of Common Ground Festival

Saudi Culture Ministry Announces Third Edition of Common Ground Festival
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Saudi Culture Ministry Announces Third Edition of Common Ground Festival

Saudi Culture Ministry Announces Third Edition of Common Ground Festival

The Saudi Ministry of Culture announced the third edition of the Common Ground Festival, which will be a celebration of Saudi and Chinese cultures.

The 2025 edition will be held at the Malfa Hall in Misk City, Riyadh from December 24, 2025, to January 6, 2026, and will highlight shared artistic traditions and creative expressions between the two countries.

The Common Ground Festival is a multi-sensory cultural event that explores the universal languages of art, cuisine, performance, and design, said the Ministry in a statement on Tuesday.

This year’s edition will celebrate the depth of Saudi and Chinese heritage through art exhibitions, live performances, and collaborative showcases that invite visitors to experience culture through sight, sound, and emotion.

The program will feature activities inspired by historical exchange routes, where artisans and cultural vendors present traditional crafts, handmade goods, tea and coffee offerings, and cultural souvenirs from both countries.

The festival will also include culinary activities that explore shared hospitality traditions, allowing visitors to experience the symbolic role of hospitality in both cultures and more.

Through this event, the Kingdom underlines its commitment to creating platforms that foster artistic dialogue, strengthen cultural understanding, and celebrate creativity as a bridge between people and nations.


In Japan's Ancient Capital, TeamLab Aims to Redefine Art with New Immersive Exhibition

Visitors watch digital artwork at teamLab Biovortex in Kyoto, Japan, November 9, 2025. REUTERS/Kim Kyung-Hoon
Visitors watch digital artwork at teamLab Biovortex in Kyoto, Japan, November 9, 2025. REUTERS/Kim Kyung-Hoon
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In Japan's Ancient Capital, TeamLab Aims to Redefine Art with New Immersive Exhibition

Visitors watch digital artwork at teamLab Biovortex in Kyoto, Japan, November 9, 2025. REUTERS/Kim Kyung-Hoon
Visitors watch digital artwork at teamLab Biovortex in Kyoto, Japan, November 9, 2025. REUTERS/Kim Kyung-Hoon

An immersive art space in the ancient Japanese capital of Kyoto is offering a novel experience to visitors from around the world, aiming to dissolve the boundary between observer and art.

Titled “Biovortex”, the exhibition is the latest and largest permanent installation in Japan created by teamLab, an art collective that has risen to global fame for its pioneering approach blending art, technology and nature, said Reuters.

Biovortex, which opened on October 7, presents more than 50 immersive digital artworks spanning 10,000 square meters (107,639 square feet) and is attracting a broad spectrum of visitors from toddlers to the elderly.

In one of the installations, called "Morphing Continuum”, countless glowing spheres float in space as a monumental sculpture emerges from the ground and drifts in midair, constantly shifting and reshaping in response to visitors' movements.

"Viewers become one with the sculpture, while the boundaries between themselves and artwork grow indistinct and float in air," said teamLab founder Toshiyuki Inoko. "It creates an experience unlike anything humanity has ever made in terms of material objects - something that defies ordinary expectations. I think the artworks offer an experience which expands human perceptions."

Visitors expressed surprise at the intensity of emotion and physical immersion that the experience offered.

"Just wonderful," said Dimitri VanCorstanje, a 25-year-old tourist from the Netherlands. “It immersed me more than just with my eyes.”

Founded in 2001 by a group of artists, engineers, and architects, teamLab has expanded its collections beyond Japan, from New York to Singapore and Jeddah, attracting millions of visitors each year. One of its permanent exhibitions, teamLab Planets in Tokyo, set the Guinness World Record for the world’s most visited museum dedicated to a single art group with 2,504,264 visitors in the fiscal year of 2023.