Mafia Link Feared in Sicilian Grand Master Theft

A drone view shows the grounds of the Museo Regionale di Messina, where four artworks by 15th-century painter Antonello da Messina were stolen overnight, in Messina, Sicily, Italy, August 16, 2026. (Reuters)
A drone view shows the grounds of the Museo Regionale di Messina, where four artworks by 15th-century painter Antonello da Messina were stolen overnight, in Messina, Sicily, Italy, August 16, 2026. (Reuters)
TT

Mafia Link Feared in Sicilian Grand Master Theft

A drone view shows the grounds of the Museo Regionale di Messina, where four artworks by 15th-century painter Antonello da Messina were stolen overnight, in Messina, Sicily, Italy, August 16, 2026. (Reuters)
A drone view shows the grounds of the Museo Regionale di Messina, where four artworks by 15th-century painter Antonello da Messina were stolen overnight, in Messina, Sicily, Italy, August 16, 2026. (Reuters)

The theft of four paintings by Renaissance master Antonello da Messina may have involved organized crime and raised troubling questions about security at a museum in the Sicilian artist's hometown, a local official said on Monday.

Enzo Caruso, Messina's councilor for culture, said it was difficult to understand how thieves could have removed the works in a matter of minutes without detailed knowledge of the museum's layout.

"It's a very, very strange affair," Caruso told Reuters.

The theft on Saturday has shocked Italy and revived memories of the infamous 1969 disappearance of a masterpiece by Caravaggio from a Palermo church -- a case long associated with Sicily's Cosa Nostra mafia ‌and never solved.

TOO ‌FAMOUS TO SELL

Caruso said the stolen Antonello works were ‌so ⁠famous that selling them ⁠even on the black market would be virtually impossible, raising the possibility that they could be used as bargaining chips or collateral in criminal dealings.

"The Mafia? It's possible they might try to blackmail the state itself in order to return them. These are the kinds of dynamics that ordinary people never get to see," he said.

He said another possibility was that the paintings could be used as guarantees or currency within the criminal underworld.

The thieves entered Messina's ⁠Accascina Regional Museum on Saturday evening, while the city was celebrating ‌a religious festival that brought thousands into the streets.

The ‌burglary only came to light some two hours later when tourists found two Antonello paintings, apparently discarded ‌by the thieves, leaning against the museum railings.

Renato Schifani, the president of Sicily, issued ‌a statement to say the museum's video surveillance system and alarm had been working normally, adding that an internal investigation was underway to see if any museum staff had been involved.

LOST PAINTINGS FOUND IN THE PAST

Caruso questioned how well prepared the thieves had been, pointing to the fact that two ‌paintings had been left in the street. "Perhaps they did not anticipate how heavy they would be. These are wooden panels ... stealing them ⁠is not as ⁠easy as stealing a canvas that can be cut from its frame," he said.

He also said a professional art thief would normally take greater care handling works worth tens of millions of euros, saying no attempt had been made to protect the paintings.

Italy's crack squad of art police are heading to Messina to take on the case, just three days after helping to retrieve paintings by Pierre-Auguste Renoir, Henri Matisse and Paul Cezanne stolen earlier this year from a museum near Parma.

While the Rome-based art theft police have established a strong track record in finding missing masterpieces, Sicily is still haunted by the memory of the missing Caravaggio.

"I have the feeling the thieves may be keeping the (Antonellos) hidden while things calm down," Caruso said.

"Or perhaps they immediately took the sea route," he added, noting that the museum lies close to the Strait of Messina.

"The hope is that sooner or later they reappear."



Red Sea Museum Concludes Six-Month 'Sunken Treasures' Exhibition

The galleries showcased underwater archaeological discoveries and Saudi Arabia's ongoing efforts to protect and document submerged cultural assets - SPA
The galleries showcased underwater archaeological discoveries and Saudi Arabia's ongoing efforts to protect and document submerged cultural assets - SPA
TT

Red Sea Museum Concludes Six-Month 'Sunken Treasures' Exhibition

The galleries showcased underwater archaeological discoveries and Saudi Arabia's ongoing efforts to protect and document submerged cultural assets - SPA
The galleries showcased underwater archaeological discoveries and Saudi Arabia's ongoing efforts to protect and document submerged cultural assets - SPA

The "Sunken Treasures: The Maritime Heritage of the Red Sea" exhibition concluded its six-month run at the Red Sea Museum in Historic Jeddah, offering visitors an educational journey into centuries of maritime trade, navigation, and pilgrimage.

Housed at the historic Bab Al-Bunt building since February 25, the exhibition highlighted the Red Sea's historical role as a vital trade artery connecting the Arabian Peninsula with the Mediterranean, Africa, and Asia.

Structured across four thematic zones, the galleries showcased underwater archaeological discoveries and Saudi Arabia's ongoing efforts to protect and document submerged cultural assets, SPA reported.

Among the exhibition's centerpiece displays was the 18th-century Umluj shipwreck, discovered submerged 20 to 22 meters deep amid coral reefs. Its recovered cargo—including commercial containers, pottery, coins, ceramics, and daily shipboard tools alongside antique navigational instruments and nautical maps—illustrated the vibrant human exchange that traversed regional waters.

Organized in collaboration with the Heritage Commission and the Historic Jeddah Program, the exhibition was also part of the summer season's cultural offerings, combining interactive public programming with scientific research to bolster cultural tourism and raise awareness of the Kingdom's underwater heritage.


Diriyah Art Futures Opens Second Edition of 'CONTINUUM' Exhibition

Diriyah Art Futures (DAF) launched its latest exhibition CONTINUUM ’26 on Thursday, showcasing the works of its second cohort of emerging artists and the program’s mentors. (SPA)
Diriyah Art Futures (DAF) launched its latest exhibition CONTINUUM ’26 on Thursday, showcasing the works of its second cohort of emerging artists and the program’s mentors. (SPA)
TT

Diriyah Art Futures Opens Second Edition of 'CONTINUUM' Exhibition

Diriyah Art Futures (DAF) launched its latest exhibition CONTINUUM ’26 on Thursday, showcasing the works of its second cohort of emerging artists and the program’s mentors. (SPA)
Diriyah Art Futures (DAF) launched its latest exhibition CONTINUUM ’26 on Thursday, showcasing the works of its second cohort of emerging artists and the program’s mentors. (SPA)

Diriyah Art Futures (DAF), the first center for New Media Arts in the Middle East and North Africa, launched its latest exhibition CONTINUUM ’26 on Thursday, showcasing the works of its second cohort of emerging artists and the program’s mentors.

Visitors explored a diverse range of cutting-edge technological media, including immersive and multimedia installations, light, sound, moving image, virtual reality, mixed reality, and AI-generated projects, the Saudi Press Agency reported.

CONTINUUM ’26 features artworks produced by 16 emerging artists and two mentors during DAF’s year-long Emerging New Media Artists Program. Curated by Irini Papadimitriou and Bushra Alghamdi, Assistant Curator, the exhibition explores questions surrounding memory, identity, place, belonging, repetition, and interspecies relationships.

Developed under the mentorship of artists Louis-Philippe Demers and Rick Treweek, the artworks explore the boundaries between the real and the artificial, human and artificial intelligence, the organic and synthetic.

Speaking at the exhibition launch, CEO of the Museums Commission Eng. Abdullah bin Abdulaziz Al-Hammad said: “Programs like the Emerging New Media Artists Program represent the long-term, deliberate investment needed to shape the future of the Kingdom's museum sector.

“By providing our artists with world-class facilities, mentorship, and the dedicated time to refine their craft, we are fueling innovation and sparking vital cultural conversations. CONTINUUM 26 brings a full year of that dedication into the public eye.”

The opening program kicked off with a panel conversation between exhibition artists Noel Apitta, Njood Albwardi, Badriya Alsalem, and Harpreet Sareen, in conversation with Bushra Alghamdi about the ideas behind their works in CONTINUUM '26.

The artists discussed the exhibition's themes – the power of artificial intelligence; memory and time; and embodied perception – exploring how each artist navigated their creative process and what questions drove them.

CONTINUUM ’26 is the second installment in a series of exhibitions at DAF, spotlighting diverse voices shaping the future of New Media Art in the region and beyond.

Developed in collaboration with Le Fresnoy – Studio national des arts contemporains in France, the Emerging New Media Artists Program gives emerging artists access to cutting-edge professional equipment and a production budget, as well as a wide range of multidisciplinary learning opportunities.

CONTINUUM ’26 is open to the public at Diriyah Art Futures and runs until November 7. The exhibition is accompanied by a public program of workshops, talks and other activities spanning AI, VR, digital photography, and much more.

Meet the Artists: an invitation to encounter the works of CONTINUUM '26 through the perspectives of the artists who made them. Over the opening weekend, artists will discuss the ideas and processes behind their works with visitors.


US Hands Over Ancient Sarcophagus Fragments to Lebanon

This New York City Police Department photo shows one of three ancient sarcophagi fragments that the FBI Art Crime Team returned to the government of Lebanon during a September 2, 2026, ceremony in New York. (New York City Police Department)
This New York City Police Department photo shows one of three ancient sarcophagi fragments that the FBI Art Crime Team returned to the government of Lebanon during a September 2, 2026, ceremony in New York. (New York City Police Department)
TT

US Hands Over Ancient Sarcophagus Fragments to Lebanon

This New York City Police Department photo shows one of three ancient sarcophagi fragments that the FBI Art Crime Team returned to the government of Lebanon during a September 2, 2026, ceremony in New York. (New York City Police Department)
This New York City Police Department photo shows one of three ancient sarcophagi fragments that the FBI Art Crime Team returned to the government of Lebanon during a September 2, 2026, ceremony in New York. (New York City Police Department)

The United States on Thursday announced the return of Roman-era sarcophagus fragments to Lebanon that were looted from the southern city of Tyre and recovered by an FBI investigation.

The decorative, lead fragments were returned to the Lebanese consulate in New York on Wednesday, ahead of their repatriation, the US embassy in Lebanon said.

The recovery "reflects the strong US-Lebanon partnership in the fight against illicit trafficking of cultural property", the embassy said.

Lebanese Culture Minister Ghassan Salame said the fragments "were unearthed in the Tyre area during illegal excavations".

"The fragments bear distinctive artistic, decorative and technical characteristics typical of workshops that produced lead sarcophagus in Tyre, which were among the city's active and prolific workshops in antiquity."

According to the FBI, the antiquities "were stolen from illicit excavations in or around Tyre and were exported outside of Lebanon's borders".

The trade in looted antiquities is widespread in the Middle East. New York, one of the world's art capitals, is home to many wealthy collectors, galleries, and auction houses.

In December 2017, three ancient artifacts were returned to Lebanon, including a bull's head of Greek origin that had been exhibited at the Met Gala, valued at $1.2 million.

Salame said the Tyre region "is exceptionally rich in archaeological heritage" and "has recently suffered severe destruction" due to heavy Israeli strikes during the latest war between Israel and Iran-backed Hezbollah.

UNESCO, the United Nations cultural agency, added Tyre to its World Heritage in Danger list in July.