Beirut Arab International Book Fair Declares Resistance, Challenge

A man reads a book at the independent bookstore "Hong Kong Reader", in Hong Kong, China June 23, 2020. REUTERS/Tyrone Siu
A man reads a book at the independent bookstore "Hong Kong Reader", in Hong Kong, China June 23, 2020. REUTERS/Tyrone Siu
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Beirut Arab International Book Fair Declares Resistance, Challenge

A man reads a book at the independent bookstore "Hong Kong Reader", in Hong Kong, China June 23, 2020. REUTERS/Tyrone Siu
A man reads a book at the independent bookstore "Hong Kong Reader", in Hong Kong, China June 23, 2020. REUTERS/Tyrone Siu

The Beirut Arab International Book Fair has opened its doors on Thursday after a three-year hiatus. Although its 62nd and last edition took place in 2018, this didn’t help keep it out of the Lebanese disputes. Publishers were divided; some believed Beirut needs some hope and everyone should defy the current circumstances, while others thought the timing is not good and it would be better to wait until its annual date, in December. However, the Arab Cultural Club, the association behind the fair, decided to hold an event now, and another in December because ‘the long absence serves no one.’

For the first time, the Beirut Arab International Book Fair is missing prominent publishing houses including Dar Al Adab, Dar Al Saqi, the Arab Scientific Publishers, Dar Al Jadeed, Hachette Antoine, Dar Al Tanweer, and Al Mada Publisher. However, the absence of ‘whales’ could be beneficial for the small publishing houses, said Dr. Abdulhalim Hammoud, founder of Dar Zamakan, referring to the large, prominent publishers. Hammoud sees this fair as an opportunity the new publishing houses could use to meet the readers without competition. “Our house has five signing events and displays new books including one about Fairuz and another about Ziad Rahbani. Each one of the partaking publishers has six to ten signing events as well,” he said. “The fair could be seen as a failure because of the hard situation in the country. But we think differently. A three-year hiatus means piles of new titles, warehouses full of books printed before the crisis and the devaluation of the local currency, and sales for affordable prices. It's’ a great opportunity for publishers seeking to boost their sales. Our house partakes in the fair with four new novels, and we plan to sell the book for 100,000 LBP (around $5) while other houses are selling the book for 200,000 LBP (around $10)”.

Inspired by the hard situation the country is currently living in, this year’s edition is dubbed “Beirut of Resistance…Beirut never Falls.” However, Suleiman Bakhti, owner of Dar Nelson, describes it as the ‘fair of challenge’ and ‘exploration.’ “We lost contact with the reading audience. It’s been a long time; things have changed, and this concerns me as a person interested in cultural affairs. We are seeing withdrawals from the industry, while our mission is to create more interaction through books, theater, and music. This year, we don’t want people to buy, but they must come, meet us, and leave their burdens behind. Following the economic collapse, the Beirut blast, the pandemic, and all the disasters we lived over the past two years, all we really want is to see people standing on their feet again,” Bakhti explained.

The past editions of the Beirut Arab International Book Fair were held at the Seaside Arena, in the heart of Beirut, in a 10,000 square meter hall which was destroyed by the blast on August 4, 2020. The venue was partly renovated, so the fair will be held over a 4,000 square meter space this year. There is a promise that the entire hall will be renovated by the end of the year, and the next date of the exhibition.

Jihad Chebaro, the owner of the Arab Scientific Publishers that declined to partake in the fair, believes such an event cannot be held in the current circumstances. “The venue and the parking lots are not ready yet, and most publishers and the Syndicate of Publishers Union refused to participate, so we didn’t want to oppose this decision. We wanted the fair to happen on its annual date because we didn’t want a failed event, and we were ready to participate with affordable prices,” he told Asharq Al-Awsat.

Rasha al-Amir, the owner of Al Jadeed Publishing, who also refused to partake, wrote on Facebook: “Dar Al Jadeed, which partook in this fair since its establishment, decided to step back this year. We write on our website for free. We publish our works on Amazon for those who can buy books through this comfortable means. We believe book fairs have become a sort of showoff. This kind of demonstration is not among our priorities anymore.”

However, readers have another opinion. Many have applauded the decision to resume the Beirut Arab International Book Fair on social media.

For her part, Salwa Siniora Baassiri, head of the Arab Culture Club, said the organization of the exhibition today is “a cultural awakening call for the Lebanese capital which never gives up.” “People can create the suitable circumstances if they want to. It’s up to us to choose to surrender or to survive. If we have the will, we can definitely stand again,” she said.

“We must not leave books alone. This fair is ours; we can make it succeed or fail. With all my respect to those who refused to partake, I was hoping everyone could engage. We will be there, bearing the high costs. We are experiencing a new situation, but if we don’t hold this event, something will be missing. We want to survive, and culture is a key feature of life,” said Bakhti.

The fair faces many challenges this year, but the Arab Cultural Club and the partaking publishers are making huge efforts to make a successful event.

Schools won’t be partaking this time because of costly transportation. Many publishing houses suffered to find affordable shelves to display their books, and the organizers have been dealing with obstacles they never faced before.

Daily activities scheduled during the event will host many prominent artists and academics like Heba al-Kawas and Zahi Wehbi in a dialogue between poetry and music on March 4. The program also features a musical evening dubbed “On Route of Poetry from Tripoli to Beirut,” and a day to celebrate the Ukrainian culture. Algerian novelists Wasini al-Aaraj, Intissar al-Wazir, Sakr Abu Fakhr, Fawaz Traboulsi, Yahya Jaber, and Yousef Bazzi, are also among the attendees.

This edition sees the participation of 90 publishing houses from Lebanon, in addition to publishers from Iraq, Syria, and Egypt. Over 30 activities will be held on the sidelines of the bookfair including cultural seminars, music concerts, and signing events.

The Beirut Arab International Book Fair was the first of its kind in the Arab world. Organized by the Arab Cultural Club, it debuted in 1956, at the American University of Beirut. Then, it has become an annual cultural event that lures readers and publishers alike. The current edition will run until March 13.



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.