Gaza Heritage and Destruction on Display in Paris

This photograph shows antiques on display during the installation of the archaeological heritage exhibition "Treasures saved from Gaza - 5000 years of history" (Tresors sauves de Gaza - 5000 ans d'histoire) at the Institut du Monde Arabe, in Paris, on March 31, 2025. (Photo by JULIEN DE ROSA / AFP)
This photograph shows antiques on display during the installation of the archaeological heritage exhibition "Treasures saved from Gaza - 5000 years of history" (Tresors sauves de Gaza - 5000 ans d'histoire) at the Institut du Monde Arabe, in Paris, on March 31, 2025. (Photo by JULIEN DE ROSA / AFP)
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Gaza Heritage and Destruction on Display in Paris

This photograph shows antiques on display during the installation of the archaeological heritage exhibition "Treasures saved from Gaza - 5000 years of history" (Tresors sauves de Gaza - 5000 ans d'histoire) at the Institut du Monde Arabe, in Paris, on March 31, 2025. (Photo by JULIEN DE ROSA / AFP)
This photograph shows antiques on display during the installation of the archaeological heritage exhibition "Treasures saved from Gaza - 5000 years of history" (Tresors sauves de Gaza - 5000 ans d'histoire) at the Institut du Monde Arabe, in Paris, on March 31, 2025. (Photo by JULIEN DE ROSA / AFP)

A new exhibition opening in Paris on Friday showcases archaeological artifacts from Gaza, once a major commercial crossroads between Asia and Africa, whose heritage has been ravaged by Israel's ongoing onslaught.

Around a hundred artifacts, including a 4,000-year-old bowl, a sixth-century mosaic from a Byzantine church and a Greek-inspired statue of Aphrodite, are on display at the Institut du Monde Arabe.

The rich and mixed collection speaks to Gaza's past as a cultural melting pot, but the show's creators also wanted to highlight the contemporary destruction caused by the war, sparked by Hamas's attack on Israel in October 2023, AFP reported.

"The priority is obviously human lives, not heritage," said Elodie Bouffard, curator of the exhibition, which is titled "Saved Treasures of Gaza: 5,000 Years of History".

"But we also wanted to show that, for millennia, Gaza was the endpoint of caravan routes, a port that minted its own currency, and a city that thrived at the meeting point of water and sand," she told AFP.

One section of the exhibition documents the extent of recent destruction.

Using satellite image, the UN's cultural agency UNESCO has already identified damage to 94 heritage sites in Gaza, including the 13th-century Pasha's Palace.

Bouffard said the damage to the known sites as well as treasures potentially hidden in unexplored Palestinian land "depends on the bomb tonnage and their impact on the surface and underground".

"For now, it´s impossible to assess."

The attacks by Hamas militants on Israel in 2023 left 1,218 dead. In retaliation, Israeli operations have killed more than 50,000 Palestinians and devastated the densely populated territory.

The story behind "Gaza´s Treasures" is inseparable from the ongoing wars in the Middle East.

At the end of 2024, the Institut du Monde Arabe was finalising an exhibition on artifacts from the archaeological site of Byblos in Lebanon, but Israeli bombings on Beirut made the project impossible.

"It came to a sudden halt, but we couldn´t allow ourselves to be discouraged," said Bouffard.

The idea of an exhibition on Gaza´s heritage emerged.

"We had just four and a half months to put it together. That had never been done before," she explained.

Given the impossibility of transporting artifacts out of Gaza, the Institut turned to 529 pieces stored in crates in a specialized Geneva art warehouse since 2006. The works belong to the Palestinian Authority, which administers the West Bank.

The Oslo Accords of 1993, signed by the Palestine Liberation Organization and Israel, helped secure some of Gaza's treasures.

In 1995, Gaza´s Department of Antiquities was established, which oversaw the first archaeological digs in collaboration with the French Biblical and Archaeological School of Jerusalem (EBAF).

Over the years, excavations uncovered the remains of the Monastery of Saint Hilarion, the ancient Greek port of Anthedon, and a Roman necropolis - traces of civilizations spanning from the Bronze Age to Ottoman influences in the late 19th century.

"Between Egypt, Mesopotamian powers, and the Hasmoneans, Gaza has been a constant target of conquest and destruction throughout history," Bouffard noted.

In the 4th century BC, Greek leader Alexander the Great besieged the city for two months, leaving behind massacres and devastation.

Excavations in Gaza came to a standstill when Hamas took power in 2007 and Israel imposed a blockade.

Land pressure and rampant building in one of the world's most densely populated areas has also complicated archaeological work.

And after a year and a half of war, resuming excavations seems like an ever-more distant prospect.

The exhibition runs until November 2, 2025.



Painting that Shocked German Society Finally Returns to Berlin

Mors Imperator (Death is the Ruler) is seen as a powerful allegory of death and power, and was misinterpreted in the late 19th century (the Alte Nationalgalerie museum)
Mors Imperator (Death is the Ruler) is seen as a powerful allegory of death and power, and was misinterpreted in the late 19th century (the Alte Nationalgalerie museum)
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Painting that Shocked German Society Finally Returns to Berlin

Mors Imperator (Death is the Ruler) is seen as a powerful allegory of death and power, and was misinterpreted in the late 19th century (the Alte Nationalgalerie museum)
Mors Imperator (Death is the Ruler) is seen as a powerful allegory of death and power, and was misinterpreted in the late 19th century (the Alte Nationalgalerie museum)

More than 100 years after Mors Imperator caused a scandal in 1887 amid fears it mocked the German kaiser, the painting is being displayed in a state museum in Berlin, according to The Guardian.

Wrapped in a cloak with ermine fur and wearing a jagged iron crown, a hulking skeleton rests one foot on a globe and knocks over a royal throne with a dramatic flick of its ivory wrist.

Entitled Mors Imperator (“Death is the Ruler”), the German artist Hermione von Preuschen’s 1887 symbolical painting was meant to express the transience of fame and power.

But authorities feared the picture could be seen as mocking the aging German Emperor Wilhelm I, who then had recently turned 90, and refused to accept its submission to the Berlin Academy of the Arts’ annual exhibition that year.

More than 100 years after the painting’s rejection and subsequent display in the 19th-century equivalent of a pop-up gallery caused a stir in Berlin society, Mors Imperator is returning to the German capital.

From Sunday until mid-November, the 2.5-meter by 1.3-meter painting will be shown in a state institution at last, at the Alte Nationalgalerie museum.

The scandal around von Preuschen’s work illustrates how prone single-ruler autocracies can be to paranoia about hidden meanings in art. According to the Berlin exhibition’s curator, an offense against the monarchy was neither what the artist intended nor how it was perceived by its supposed target.

Born in Darmstadt in 1854, von Preuschen was a poet, world traveler and painter known for her large-scale and flamboyant historical still life pictures. At the 1896 International Women’s Congress in Berlin she gave an impassioned speech calling for women to be allowed education at artistic academies.

“Hermione von Preuschen was bold, not short of self-belief, and an early advocate of female emancipation,” said Birgit Verwiebe, an art historian. “But she was not a political person, and there is no record of her having any anti-monarchical instincts. After all, she came from nobility herself.”


Saudi Arabia: DGDA Held Eid Cultural Program Across Diriyah

Diriyah Gate Development Authority (DGDA) held a three-day festive program. SPA
Diriyah Gate Development Authority (DGDA) held a three-day festive program. SPA
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Saudi Arabia: DGDA Held Eid Cultural Program Across Diriyah

Diriyah Gate Development Authority (DGDA) held a three-day festive program. SPA
Diriyah Gate Development Authority (DGDA) held a three-day festive program. SPA

The Diriyah Gate Development Authority (DGDA) held a three-day festive program celebrating Eid Al-Fitr from Friday to Sunday for residents and visitors of all ages.

The historic At Turaif District in Diriyah served as a central hub, featuring the Saudi Ardah dance at Salwa Palace and the “Hal Al-Qusoor” program, which uses interactive storytelling to highlight the history of the First Saudi State.

Festivities extended to Diriyah’s other districts, featuring traditional celebrations, folk performances, and family-friendly entertainment.

Children participated in specialized workshops focused on storytelling and creative writing, while family activities also highlighted Najdi heritage through play.

The programs focused on craftsmanship, offering workshops in arts and traditional trades such as accessory design, leather engraving, and the creation of custom oud mixtures, soap, and prayer beads.

These initiatives strengthen Diriyah’s position as a leading global cultural destination and align with Saudi Vision 2030 by enhancing the quality of life.


Matisse’s Last Years Cut Out -- But Not Pasted -- At Paris Expo

Artwork entitled "Autoportrait au chapeau de paille" by French artist Henri Matisse on display during the exhibition "Matisse 1941-1954" at the Grand Palais in Paris, France, 19 March 2026. (EPA)
Artwork entitled "Autoportrait au chapeau de paille" by French artist Henri Matisse on display during the exhibition "Matisse 1941-1954" at the Grand Palais in Paris, France, 19 March 2026. (EPA)
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Matisse’s Last Years Cut Out -- But Not Pasted -- At Paris Expo

Artwork entitled "Autoportrait au chapeau de paille" by French artist Henri Matisse on display during the exhibition "Matisse 1941-1954" at the Grand Palais in Paris, France, 19 March 2026. (EPA)
Artwork entitled "Autoportrait au chapeau de paille" by French artist Henri Matisse on display during the exhibition "Matisse 1941-1954" at the Grand Palais in Paris, France, 19 March 2026. (EPA)

The final years of Henri Matisse's artistic life, marked by the Nazi occupation of France and a brush with death and surgery, will light up a twilight retrospective opening next week.

From Tuesday, the Grand Palais in Paris will see a reunion of seminal series by the late French master, such as "Blue Nudes", "Jazz" or the monumental "La Gerbe" (The Sheaf), revealing the ageing painter's prolific work ethic despite his health woes.

The exhibition brings together 320 works, from media as varied as paintings, sketches, gouache cut-outs, textiles and stained glass, all drafted by the artist in the run-up to his death in 1954 at the age of 84.

Titled "Matisse 1941-1954", it chronicles a time when the Nazis considered Matisse a "degenerate" artist, during which he confessed to a friend that he came within a "whisker of death" after going under the surgeon's knife in 1941.

"At that time, he was therefore an elderly man, partially disabled and struggling to stand upright," said Claudine Grammont, the curator of the exhibition and a former director of the Matisse Museum in Nice.

Yet despite those woes, Matisse was about to embark on "the most prolific moment of his career", Grammont added.

"It's truly his apotheosis, meaning that the artist reaches a state of nonchalance, of detachment... in short, a moment of grace."

Grammont, who also heads the graphic art department at the French capital's famed Pompidou museum, bristles at the long-standing accusation that Matisse abandoned the art of painting for cut-outs in his old age.

"It has often been said, wrongly, that during this period Matisse stopped painting and did nothing but cut-out gouaches.

"Well, no: Matisse painted 75 paintings between 1941 and 1954."

Nonetheless, Matisse's supposed dotage was marked by an outbreak of inspiration.

"In 1950 alone, 40 works were produced. That's a lot for an 80-year-old man," Grammont said.

- 'Intimacy' -

Visitors will have until July 26 to catch the late Matisse's essential works, including the best part of his ornamentation for the Vence Chapel in southeastern France and its dozen paintings.

It also brings together four of his now-ubiquitous "Blue Nudes", which have become a modern cultural touchstone, visible on tourist-shop T-shirts and the walls of student bedsits alike, even despite criticism of the artist's supposed colonialism from his time in Tahiti.

Matisse would often work on pieces such as 1953's "La Gerbe", with its splash of vividly colored spiky cut-outs, at night, "because he was an insomniac", Grammont said.

For the curator, Matisse significantly altered his method in his final years, developing "a new iconographic vocabulary" through the cut-out to give his art a monumental scope.

Hence an exhibition on two floors, with spacious rooms capable of housing these large gouache cut-outs once pinned to the walls of his studio.

"What we wanted to recreate in the exhibition is this intimacy within the atelier," Grammont said.

"It's about being able to enter Matisse's studio and find yourself face to face with the artworks."