Italian Cooking and Its Rituals Get UN Designation as World Heritage 

A waiter carries pizzas at L'antica Pizzeria da Michele as Italian cuisine awaits a crucial UNESCO decision that could recognize it as an Intangible Cultural Heritage of Humanity in Naples, Italy, December 5, 2025. (Reuters)
A waiter carries pizzas at L'antica Pizzeria da Michele as Italian cuisine awaits a crucial UNESCO decision that could recognize it as an Intangible Cultural Heritage of Humanity in Naples, Italy, December 5, 2025. (Reuters)
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Italian Cooking and Its Rituals Get UN Designation as World Heritage 

A waiter carries pizzas at L'antica Pizzeria da Michele as Italian cuisine awaits a crucial UNESCO decision that could recognize it as an Intangible Cultural Heritage of Humanity in Naples, Italy, December 5, 2025. (Reuters)
A waiter carries pizzas at L'antica Pizzeria da Michele as Italian cuisine awaits a crucial UNESCO decision that could recognize it as an Intangible Cultural Heritage of Humanity in Naples, Italy, December 5, 2025. (Reuters)

Italian food is known and loved around the world for its fresh ingredients and palate-pleasing tastes. On Wednesday, the UN's cultural agency gave foodies another reason to celebrate their pizza, pasta and tiramisu by listing Italian cooking as part of the world’s “intangible” cultural heritage.

UNESCO added the rituals surrounding Italian food preparation and consumption to its list of the world’s traditional practices and expressions. It's a designation celebrated alongside the more well-known UNESCO list of world heritage sites, on which Italy is well represented with locations like the Rome's Colosseum and the ancient city of Pompeii.

The citation didn’t mention specific dishes, recipes or regional specialties, but highlighted the cultural importance Italians place on the rituals of cooking and eating: the Sunday family lunch, the tradition of grandmothers teaching grandchildren how to fold tortellini dough just so, even the act of coming together to share a meal.

“Cooking is a gesture of love, a way in which we tell something about ourselves to others and how we take care of others,” said Pier Luigi Petrillo, a member of the Italian UNESCO campaign and professor of comparative law at Rome’s La Sapienza University.

“This tradition of being at the table, of stopping for a while at lunch, a bit longer at dinner, and even longer for big occasions, it’s not very common around the world,” he said.

Premier Giorgia Meloni celebrated the designation, which she said honored Italians and their national identity.

“Because for us Italians, cuisine is not just food or a collection of recipes. It is much more: it is culture, tradition, work, wealth,” she said in a statement.

Many gastronomic cultures get recognition It’s by no means the first time a country’s cuisine has been recognized as a cultural expression: In 2010, UNESCO listed the “gastronomic meal of the French” as part of the world’s intangible heritage, highlighting the French custom of celebrating important moments with food.

Other national cuisines and cultural practices surrounding them have also been added in recent years: the “cider culture” of Spain’s Asturian region, the Ceebu Jen culinary tradition of Senegal, the traditional way of making cheese in Minas Gerais, Brazil.

UNESCO meets every year to consider adding new cultural practices or expressions onto its lists of so-called “intangible heritage.” There are three types: One is a representative list, another is a list of practices that are in “urgent” need of safeguarding and the third is a list of good safeguarding practices.

This year, the committee meeting in New Delhi considered 53 nominations for the representative list, which already had 788 items. Other nominees included the Swiss yodelling, the handloom weaving technique used to make Bangladesh’s Tangail sarees, and Chile’s family circuses.

In its submission, Italy emphasized the “sustainability and biocultural diversity” of its food. Its campaign noted how Italy’s simple cuisine valued seasonality, fresh produce and limiting waste, while its variety highlighted its regional culinary differences and influences from migrants and others.

“For me, Italian cuisine is the best, top of the range. Number one. Nothing comes close,” said Francesco Lenzi, a pasta maker at Rome’s Osteria da Fortunata restaurant, near the Piazza Navona. “There are people who say ‘No, spaghetti comes from China.’ Okay, fine, but here we have turned noodles into a global phenomenon. Today, wherever you go in the world, everyone knows the word spaghetti. Everyone knows pizza.”

Lenzi credited his passion to his grandmother, the “queen of this big house by the sea” in Camogli, a small village on the Ligurian coast where he grew up. “I remember that on Sundays she would make ravioli with a rolling pin.”

“This stayed with me for many years,” he said in the restaurant's kitchen.

Mirella Pozzoli, a tourist visiting Rome’s Pantheon from the Lombardy region in northern Italy, said the mere act of dining together was special to Italians:

“Sitting at the table with family or friends is something that we Italians cherish and care about deeply. It’s a tradition of conviviality that you won’t find anywhere else in the world.”

Italy already well-represented on list Italy already has 13 other cultural items on the UNESCO intangible list, including Sicilian puppet theater, Cremona’s violin craftsmanship and the practice moving of livestock along seasonal migratory routes known as transhumance.

Italy appeared in two previous food-related listings: a 2013 citation for the “Mediterranean diet” that included Italy and half a dozen other countries, and the 2017 recognition of Naples’ pizza makers.

Petrillo, the Italian campaign member, said after 2017, the number of accredited schools to train Neapolitan pizza makers increased by more than 400%.

“After the UNESCO recognition, there were significant economic effects, both on tourism and the sales of products and on education and training,” he said.



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.


Saudi Heritage Commission Discovers Abbasid-Era Gold Jewelry in Qassim

The Saudi Heritage Commission logo
The Saudi Heritage Commission logo
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Saudi Heritage Commission Discovers Abbasid-Era Gold Jewelry in Qassim

The Saudi Heritage Commission logo
The Saudi Heritage Commission logo

Saudi Arabia’s Heritage Commission announced the discovery of a collection of Abbasid-era gold jewelry at the archaeological site of Diriyyah in Qassim Region during the fourth season of excavation and survey work.

The discovery includes 100 gold pieces adorned with floral and geometric motifs, along with architectural remains from the Abbasid period, including stone foundations, mud walls, pottery, and metal tools.

The findings indicate human settlement dating back to the late third century AH and highlight the site’s historical importance along pilgrimage and trade routes.

The discovery reflects the Heritage Commission’s ongoing efforts to document and preserve the Kingdom’s archaeological heritage, supporting cultural development goals aligned with Saudi Vision 2030.