Gaza’s Historic Treasures Saved by ‘Irony of History’ 

A picture taken on January 5, 2024 shows Gaza City's 17th century Qasr al-Basha or the Pasha's Palace, also known as Radwan dynasty castle, which houses a museum and a girls' school, damaged in Israeli bombardment during the ongoing battles between Israel and the Palestinian Hamas movement. (AFP)
A picture taken on January 5, 2024 shows Gaza City's 17th century Qasr al-Basha or the Pasha's Palace, also known as Radwan dynasty castle, which houses a museum and a girls' school, damaged in Israeli bombardment during the ongoing battles between Israel and the Palestinian Hamas movement. (AFP)
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Gaza’s Historic Treasures Saved by ‘Irony of History’ 

A picture taken on January 5, 2024 shows Gaza City's 17th century Qasr al-Basha or the Pasha's Palace, also known as Radwan dynasty castle, which houses a museum and a girls' school, damaged in Israeli bombardment during the ongoing battles between Israel and the Palestinian Hamas movement. (AFP)
A picture taken on January 5, 2024 shows Gaza City's 17th century Qasr al-Basha or the Pasha's Palace, also known as Radwan dynasty castle, which houses a museum and a girls' school, damaged in Israeli bombardment during the ongoing battles between Israel and the Palestinian Hamas movement. (AFP)

Gaza's ancient Greek site of Anthedon has been bombed, its "Napoleon's Palace" destroyed and the only private museum burned down: the war has taken a terrible toll on the rich heritage of the Palestinian territory.

But in a strange twist of fate, some of its greatest historical treasures are safe in a warehouse in Switzerland.

And ironically, it is all thanks to the blockade that made life in the Gaza Strip such a struggle for the past 16 years.

Based on satellite images, the UN cultural organization reckons some 41 historic sites have been damaged since Israel began pounding the besieged territory after the October 7 Hamas attack.

On the ground, Palestinian archaeologist Fadel al-Otol keeps tabs on the destruction in real time.

When he has electricity and internet access, photos pour into a WhatsApp group he set up with 40 or so young peers he mobilized to watch over the territory's vast array of ancient sites and monuments.

As a teenager in the 1990s, Otol was hired by European archaeological missions before going on to study in Switzerland and at the Louvre Museum in Paris.

"All the archaeological remains in the north have been hit," he told AFP by phone from Gaza.

The human toll since the October 7 Hamas attack has been chilling.

A total of 1,170 people were killed in the unprecedented raid on Israel, according to an AFP tally of Israeli official figures.

Almost 34,000 have died in Gaza in unrelenting Israeli retaliation, according to the territory's health ministry.

The damage to Gaza's history has also been immense.

Napoleon's HQ flattened

"Blakhiya (the ancient Greek city of Anthedon) was directly bombed. There's a huge hole", said Otol.

He said part of the site, near a Hamas barracks where "we hadn't started excavating", was hit.

The 13th-century Al-Basha palace in Gaza City's old town "has been completely destroyed. There was bombing and (then) it was bulldozed.

"It held hundreds of ancient objects and magnificent sarcophagi," Otol added as he shared recent photos of the ruins.

Napoleon is said to have based himself in the ochre stone edifice at the disastrous end of his Egyptian campaign in 1799.

The room where the French emperor supposedly slept was full of Byzantine artifacts.

"Our best finds were displayed in the Basha," Jean-Baptiste Humbert of the French Biblical and Archaeological School in Jerusalem (EBAF) told AFP.

But we know little of their fate, he said. "Did someone remove the objects before blowing the building up?"

Nerves were frayed even further when the director of Israeli Antiquities, Eli Escusido, posted a video on Instagram of Israeli soldiers surrounded by vases and ancient pottery in the EBAF warehouse in Gaza City.

Much of what has been unearthed in digs in Gaza was stored either at the Al-Basha museum or the warehouse.

Palestinians quickly accused the army of pillaging. But EBAF archaeologist Rene Elter said he has seen no evidence of "state looting".

"My colleagues were able to return to the site. The soldiers opened boxes. We don't know if they took anything," he told AFP.

However, he added: "Every day when Fadel (al-Otol) calls me, I'm afraid he'll tell me that one of our colleagues has died or that such and such a site has been destroyed".

Archaeology is a highly political issue in Israel and the Palestinian territories, with discoveries often used to justify the claims of the two warring peoples.

While Israel has an army of archaeologists who have unearthed an impressive number of ancient treasures, Gaza remains relatively untouched by the trowel despite a rich past stretching back thousands of years.

Ancient crossroads

The only sheltered natural harbor between the Sinai and Lebanon, Gaza has been for centuries a crossroads of civilizations.

A pivot point between Africa and Asia and a hub of the incense trade, it was coveted by the Egyptians, Persians, Greeks, Romans and Ottomans.

A key figure in excavating this glorious past over the last few decades has been Jawdat Khoudary, a Gazan construction magnate and collector.

Gaza, with its "seafront real estate", had a property boom in the 1990s after the Oslo peace accords and the creation of the Palestinian Authority.

When building workers dug up the soil, they came across lots and lots of ancient objects. Khoudary amassed a treasure trove of artifacts that he opened up to foreign archaeologists.

Marc-Andre Haldimann, then curator of MAH, Geneva's art and history museum, couldn't believe his eyes when he was invited to have a look around the garden of Khoudary's mansion in 2004.

"We found ourselves in front of 4,000 objects, including an avenue of Byzantine columns," he told AFP.

Quickly an idea took shape to organize a major exhibition to highlight Gaza's past at the MAH, and then to build a museum in the territory itself so that the Palestinians could take ownership of their own heritage.

At the end of 2006, around 260 objects from the Khoudary collection left Gaza for Geneva, with some later going on to be part of another hit show at the Institut du Monde Arabe (IMA) in Paris.

But geopolitics changed along the way. In June 2007, Hamas drove the Palestinian Authority from Gaza. And Israel imposed its blockade.

As a result, the Gazan artifacts could no longer return home and remained stuck in Geneva, while the archaeological museum project fizzled out.

But Khoudary did not give up hope. He built a museum-hotel called Al-Mathaf, museum in Arabic, on the Mediterranean coast north of Gaza City.

But then came the Israeli ground offensive after the Hamas attack on October 7, which began in Gaza's north.

'Anything but a black hole'

"Al-Mathaf remained under Israeli control for months," Khoudary, who fled Gaza for Egypt, told AFP. "As soon as they left, I asked some people to go there to see what state the place was in. I was shocked. Several items were missing and the hall had been set on fire.

His mansion was also destroyed during fierce fighting in the Sheikh Radwan neighborhood of Gaza City.

"The Israelis flattened the garden with bulldozers... I don't know whether objects were buried (by the bulldozers) or whether the marble columns were broken or looted. I can't find words," he added.

The Israeli military did not comment on specific sites. But it accused Hamas of systematically using civilian structures like cultural heritage sites, government buildings, schools, shelters and hospitals for military purposes.

"Israel maintains its commitments to international law, including by affording the necessary special protections," the army added in a statement.

While part of Khoudary's collection has been lost, the treasures held in Switzerland remain intact, saved by the blockade and the red tape that delayed their return.

"There were 106 crates ready to go" for years, said Beatrice Blandin, the MAH museum's current curator.

Safely far from the war raging in Gaza, "the objects are in good condition", she added. "We restored some of the bronze pieces that were slightly corroded and repacked everything.

"We just had to be sure that the convoy would not be blocked," she told AFP. "We were waiting for that green light."

But with any return impossible for the moment, Blandin said "discussions are under way" for a new Gaza exhibition in Switzerland.

Khoudary is excited by the idea.

"The most important collection of objects on the history of Gaza is in Geneva. If there is a new show, it will allow the whole world to learn about our history," he told AFP from Cairo.

"It's an irony of history," said Haldimann, who is trying to get his friend Fadel al-Otol safely out of Gaza.

"A new Gaza exhibition would show once again that Gaza... is anything but a black hole."



Private Museums Bolster Cultural Tourism in Qassim Region

A prominent example is the private museum of Abdullah Al-Suhaibani, an expert with over 40 years of experience in gemstones and minerals - SPA
A prominent example is the private museum of Abdullah Al-Suhaibani, an expert with over 40 years of experience in gemstones and minerals - SPA
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Private Museums Bolster Cultural Tourism in Qassim Region

A prominent example is the private museum of Abdullah Al-Suhaibani, an expert with over 40 years of experience in gemstones and minerals - SPA
A prominent example is the private museum of Abdullah Al-Suhaibani, an expert with over 40 years of experience in gemstones and minerals - SPA

Qassim Region is witnessing a significant rise in private museums, as individual collectors transform personal passions into vital cultural projects. These museums serve as a living memory for the community, preserving rare artifacts, historical documents, antique weapons, and vintage collections that document critical stages of the region's history. By connecting the present with its roots, these sites strengthen national identity and provide essential research resources for scholars and tourists alike, SPA reported.

A prominent example is the private museum of Abdullah Al-Suhaibani, an expert with over 40 years of experience in gemstones and minerals.

His collection features rare agates, fossils from ancient geological eras, and unique rock formations discovered throughout the Kingdom.

The museum acts as a scientific platform, promoting geology and field research while educating the community on the Kingdom’s diverse natural resources and mineral wealth.

Located near Al-Khabra Historical Village, these private initiatives have become key cultural landmarks in Riyadh Al-Khabra Governorate. Their growth aligns with Saudi Vision 2030 goals to develop cultural and scientific tourism, support local content, and position the Kingdom’s heritage and natural sites as premier global destinations.


Saudi Arabia Showcases Literary Diversity at 2026 Rabat International Book Fair

‏The Saudi pavilion brings together a range of government entities and cultural institutions - SPA
‏The Saudi pavilion brings together a range of government entities and cultural institutions - SPA
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Saudi Arabia Showcases Literary Diversity at 2026 Rabat International Book Fair

‏The Saudi pavilion brings together a range of government entities and cultural institutions - SPA
‏The Saudi pavilion brings together a range of government entities and cultural institutions - SPA

The Literature, Publishing and Translation Commission launched the Saudi pavilion at the 2026 International Publishing and Book Fair in Rabat, which continues through May 10.

‏Commission CEO Dr. Abdullatif Alwasel affirmed that the Kingdom’s participation in the event embodies the deep historical ties between Saudi Arabia and Morocco while showcasing a diverse, contemporary cultural movement driven by Saudi Vision 2030.

“Saudi Arabia’s participation at the 2026 International Publishing and Book Fair emphasizes the Kingdom’s commitment to spotlighting publishers and the creative literary sector, which continues to go from strength to strength,” Alwasel said, SPA reported.

‏He added: “The Saudi pavilion is an opportunity to invite people from every corner of the world to experience Saudi culture and diverse literary works, showcase unique Saudi talent and creative thinking, while facilitating cultural exchange and engaging discussions.”

‏The Saudi pavilion brings together a range of government entities and cultural institutions, led by the Literature, Publishing and Translation Commission, highlighting the integrated approach of the Kingdom’s cultural environment.

‏As part of the pavilion, the commission has organized a series of topical panel discussions, poetry evenings, and workshops featuring Saudi writers and creative thinkers, encouraging discussions on key issues relating to the literature, publishing and translation sector and its impact on Arab and global conversations.

‏The participation at the 31st International Publishing and Book Fair event reaffirms the Kingdom’s efforts towards platforming local talent and enhancing collaboration and cultural exchange.


Georg Baselitz, the German Painter Who Turned Postwar Art Upside Down, Dies at 88

German artist Georg Baselitz attends the opening of his exhibition "The Heroes" (Die Helden) at the Staedel museum in Frankfurt, Germany June 29, 2016. (Reuters)
German artist Georg Baselitz attends the opening of his exhibition "The Heroes" (Die Helden) at the Staedel museum in Frankfurt, Germany June 29, 2016. (Reuters)
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Georg Baselitz, the German Painter Who Turned Postwar Art Upside Down, Dies at 88

German artist Georg Baselitz attends the opening of his exhibition "The Heroes" (Die Helden) at the Staedel museum in Frankfurt, Germany June 29, 2016. (Reuters)
German artist Georg Baselitz attends the opening of his exhibition "The Heroes" (Die Helden) at the Staedel museum in Frankfurt, Germany June 29, 2016. (Reuters)

Georg Baselitz liked to insist — sometimes as a taunt, ‌sometimes as a shield — that he did not know how to paint. That he had "no talent".

Rejected at 17 by the Dresden Academy of Fine Arts, he talked his way into an academy in East Berlin only to be expelled two semesters later for "sociopolitical immaturity".

"I was stupid," he recalled. "I was uneducated, but I was a rebel."

From that rebellion, Baselitz forged a career that made the child of Nazi Germany, schooled under Soviet communism, into one of the defining artists of postwar Germany.

The painter and sculptor, known for his depictions of raw bodies and inverted landscapes, has died at the age of 88, Germany's Die Welt newspaper reported on Thursday. No cause of death was given.

A REBEL SHAPED BY TWO DICTATORSHIPS

Georg Baselitz was born Hans-Georg Bruno Kern on January 23, 1938, in the Saxon village of Deutschbaselitz, a name he later adopted.

His father, a village schoolteacher and Nazi Party member, recorded Hans-Georg's birth in his diary. Inexplicably, he recorded the birth of none of his other four children, the Sächsische Zeitung daily reported in 2018.

After the war, ‌his father was ‌barred from teaching. Baselitz's mother took over his duties at the school.

Baselitz spent his childhood ‌amid ⁠the unforgiving discipline of ⁠Nazi Germany, and his adolescence amid the rubble and ideological re-education of the country's Soviet occupation zone.

"I was born into a destroyed order, a destroyed landscape, a destroyed people, a destroyed society," he later recalled. "And I didn't want to reestablish an order: I had seen enough of so-called order. I was forced to question everything, to be 'naive', to start again."

After he was expelled from the East Berlin academy, he moved to West Berlin, where he finished his studies and absorbed modernism in a way that felt, he said, like a sudden intake of oxygen.

He recalled the shock of first seeing works by Jackson Pollock and other abstract expressionists — evidence, in his telling, that ⁠the United States had a serious culture despite what he had been taught.

But rather than ‌imitate an American style, Baselitz turned back to German sources, drawing on expressionism, ‌folk traditions and imagery often dismissed by critics as ugly or even "degenerate".

SCANDAL AS A CALLING CARD

At a 1963 solo show in Berlin, authorities ‌seized two of his paintings on obscenity grounds. The episode made Baselitz famous.

The early pictures, marked by raw bodies, stunted masculinity and abrasive humor, were widely seen as provocation.

Supporters and museum curators have also framed them as a blunt report on postwar German life: damaged, compromised and struggling to find a new footing.

That sensibility carried into his mid-1960s "Heroes" paintings, which presented hulking, battered figures that looked less like victors than survivors ‌stumbling out of a defeated national myth.

But Baselitz's most recognizable works came in 1969, when he began painting motifs upside down.

After earlier experiments that fractured or partially inverted figures, he ⁠produced fully inverted works including "The ⁠Wood on Its Head" and "The Man by the Tree".

He did not simply flip finished images, he composed and painted them inverted from the start.

That approach altered how viewers read his works. By disrupting recognition, it forced attention onto the mechanics of painting — its color, balance and composition.

"An object painted upside down is suitable for painting because it is unsuitable as an object," Baselitz said.

The inversions made Baselitz an international figure in the 1970s and 1980s, as the market and institutions that once treated him as scandalous increasingly positioned him as a pillar of European postwar art.

His public reputation, however, did not settle into quiet respectability.

He repeatedly sparked backlash with remarks about female painters, including a widely reported claim that women "don't paint very well".

He also confronted the limits Germany's history places on gesture and imagery: a wooden sculpture shown at the 1980 Venice Biennale was widely read as evoking a Nazi salute, a reading he denied.

He was married to Johanna Elke Kretzschmar, known as Elke, with whom he had two sons.

In later life, Baselitz painted huge canvases from his wheelchair and moved his brushes and paints in a rolling cart.

"The sensible thing, in my situation, would naturally be to say: 'I stick to small formats'," he told Spanish newspaper El Pais at age 87. "But of course I don't do what's sensible. What's right for me is the nonsensical."