Iconic Tapestry of Picasso's 'Guernica' Is Back at the UN

In this Jan. 2, 2018, file photo, United States Ambassador to the United Nations Nikki Haley walks past a tapestry woven by Atelier J. de la Baume-Durrbach of Pablo Picasso's "Guernica" as she arrives to speak to reporters at United Nations headquarters. (AP)
In this Jan. 2, 2018, file photo, United States Ambassador to the United Nations Nikki Haley walks past a tapestry woven by Atelier J. de la Baume-Durrbach of Pablo Picasso's "Guernica" as she arrives to speak to reporters at United Nations headquarters. (AP)
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Iconic Tapestry of Picasso's 'Guernica' Is Back at the UN

In this Jan. 2, 2018, file photo, United States Ambassador to the United Nations Nikki Haley walks past a tapestry woven by Atelier J. de la Baume-Durrbach of Pablo Picasso's "Guernica" as she arrives to speak to reporters at United Nations headquarters. (AP)
In this Jan. 2, 2018, file photo, United States Ambassador to the United Nations Nikki Haley walks past a tapestry woven by Atelier J. de la Baume-Durrbach of Pablo Picasso's "Guernica" as she arrives to speak to reporters at United Nations headquarters. (AP)

The iconic tapestry of Pablo Picasso’s “Guernica,” which is considered by numerous art critics as perhaps the most powerful anti-war painting in history, returned to its place of honor at the United Nations on Saturday after a year-long absence that angered and dismayed many UN diplomats and staff.

The tapestry of the painting, woven by Atelier J. de la Baume-Durrbach, was re-hung Saturday outside the Security Council, the UN’s most powerful body charged with ensuring international peace and security. Since February 2021, the yellow wall where it had hung had been empty.

The tapestry was commissioned in 1955 by former US vice president and New York governor Nelson Rockefeller and offered to the UN on loan in 1984.

The Rockefeller family donated the land to build the UN complex after the world body was founded on the ashes of World War II, in the words of the UN Charter, “to save succeeding generations from the scourge of war.”

When the United Nations headquarters was undergoing a major renovation starting in 2009, the tapestry was returned to the Rockefeller Foundation for safekeeping. It was reinstalled in September 2013 when the renovations were completed.

Early last year, Nelson A. Rockefeller, Jr., the son of the late vice president and governor who owns the “Guernica” tapestry, notified the United Nations of his intention to retrieve it. The UN returned it to him in February 2021.

Rockefeller said in a statement Saturday that the tapestry was being returned on loan to the United Nations, and he intends to donate the work to the National Trust for Historic Preservation in the future.

“The Guernica tapestry with its probing symbolism -- its depiction of horrific aspects of human nature -- wrestles with the cruelty, darkness, and also a seed of hope within humanity.” Rockefeller said in a statement. “The Guernica tapestry is meant to be experienced and interpreted, with Picasso refusing to share its message when asked.”

Rockefeller said he was “delighted and deeply grateful, along with my family for the careful stewardship” of the tapestry by the United Nations and Secretary-General Antonio Guterres.

“I am grateful that the tapestry will be able to continue to reach a broader segment of the world’s population and magnify its ability to touch lives and educate,” he said.

In a Dec. 1, 2021 letter to Rockefeller, the UN said Guterres wrote: “This is most welcome news as we end a difficult year of global hardship and strife.”

“The Guernica tapestry speaks to the world about the urgent need to advance international peace and security,” the UN chief wrote. “We are honored to serve as careful stewards of this one-of-a-kind iconic work – as we draw inspiration from its message.”

The original painting, Picasso’s protest of the bombing of the Basque capital of Guernica during the Spanish civil war, is in Spain.



Gulf States Unveil Efforts to Develop AI Tools to Combat Fake News

Dr. Preslav Nakov (LinkedIn)
Dr. Preslav Nakov (LinkedIn)
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Gulf States Unveil Efforts to Develop AI Tools to Combat Fake News

Dr. Preslav Nakov (LinkedIn)
Dr. Preslav Nakov (LinkedIn)

One of the significant challenges facing researchers in artificial intelligence (AI) development is ensuring objectivity amid the rapid and ever-increasing flow of information online. With numerous tools now available to disseminate diverse data and information, it has become increasingly difficult for audiences to distinguish between truth and propaganda on one hand and between objective journalism and biased framing on the other.
This has underscored the growing importance of technologies designed to analyze, detect, and filter vast amounts of data. These tools aim to curb the spread of misinformation, combat rumors and fake news, and make the internet a safer space for sharing and accessing accurate information.
Fake news is defined as media content created and published with the intent to mislead or manipulate public opinion, often for political, economic, or social purposes. The methods for creating fake news range from simple manipulation of facts to sophisticated techniques like deepfakes, further complicating efforts to identify them.
In Abu Dhabi, Dr. Preslav Nakov, a professor and chair of Natural Language Processing at Mohamed bin Zayed University of Artificial Intelligence, is leading innovative efforts to develop AI technologies, particularly in analyzing the methods used in media to influence public opinion.
Among his most notable contributions is the development of FRAPPE, an interactive tool for global news analysis. FRAPPE provides comprehensive insights into the persuasive and rhetorical techniques employed in news articles, enabling users to gain a deeper understanding of diverse media contexts. According to Nakov, FRAPPE helps users identify how news is framed and presented in different countries, offering a clearer perspective on divergent media narratives.
FRAPPE’s capabilities also extend to analyzing media framing methods. Nakov explains that the tool allows users to compare how different media outlets address specific issues. For instance, one outlet in a particular country might emphasize the economic implications of climate change, while another focuses on its political or social dimensions.
AI is the cornerstone of FRAPPE’s functionality, enabling the tool to analyze complex linguistic patterns that influence readers’ opinions.
In a discussion with Asharq Al-Awsat, Nakov highlighted the tool’s capabilities, noting that AI in FRAPPE is fundamental to analyzing, classifying, and detecting intricate linguistic patterns that shape readers’ perceptions and emotions. He explained that the application uses AI to identify propaganda and persuasion techniques such as insults, fear-based language, bullying, exaggeration, and repetition. The system has been trained to recognize 23 subtle techniques often embedded in real-world media content.
Ensuring objectivity and reducing bias are among the main challenges in developing AI tools like FRAPPE. Nakov explains that FRAPPE focuses on analyzing the language used in articles rather than evaluating their accuracy or political stance.
To date, FRAPPE has analyzed over two million articles on topics such as the Russia-Ukraine war and climate change. The tool currently supports content analysis in 100 languages, with plans to expand its capabilities to additional languages and enhance the accuracy of its analyses, further strengthening its ability to comprehend global media patterns.