Gaza Antiquities Rescued Ahead of Israeli Strike

(FILES) Palestinian students work at the archaeological site of Saint Hilarion, also known as Tell Umm Amer, in the central Gaza Strip on March 7, 2023. (Photo by Mahmud HAMS / AFP)
(FILES) Palestinian students work at the archaeological site of Saint Hilarion, also known as Tell Umm Amer, in the central Gaza Strip on March 7, 2023. (Photo by Mahmud HAMS / AFP)
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Gaza Antiquities Rescued Ahead of Israeli Strike

(FILES) Palestinian students work at the archaeological site of Saint Hilarion, also known as Tell Umm Amer, in the central Gaza Strip on March 7, 2023. (Photo by Mahmud HAMS / AFP)
(FILES) Palestinian students work at the archaeological site of Saint Hilarion, also known as Tell Umm Amer, in the central Gaza Strip on March 7, 2023. (Photo by Mahmud HAMS / AFP)

Nearly three decades of archaeological finds in Gaza were hurriedly evacuated Thursday from a Gaza City building threatened by an Israeli strike, an official in charge of the antiquities told AFP.

"This was a high-risk operation, carried out in an extremely dangerous context for everyone involved -- a real last-minute rescue," said Olivier Poquillon, director of the French Biblical and Archaeological School of Jerusalem (EBAF), whose storehouse housed the relics.

On Wednesday morning, Israeli authorities ordered EBAF -- one of the oldest academic institutions in the region -- to evacuate its archaeological storehouse located on the ground floor of a residential tower in Gaza City that was due to be targeted.

The Israeli army did not confirm the warning when asked by AFP, but several sources said France, UNESCO and the Latin Patriarchate of Jerusalem played a key role in securing a brief reprieve that allowed most of the artifacts to be removed.

"With almost no international actors left on the ground, no infrastructure, nothing functioning, we had to improvise transport, labor and logistics," said Poquillon.

The evacuation, he added, was carried out in strict secrecy, with "the overriding concern, as a religious organization, of not endangering human lives", as Israeli military pressed operations in the territory's largest urban hub.

The depot contained around 180 cubic meters of finds from Gaza's five main archaeological sites, including the fourth-century Saint Hilarion Monastery, listed as a UNESCO World Heritage site.

All of these sites have been damaged, EBAF said, expressing concern for "unique" mosaics left exposed despite their fragility.

Poquillon said Gaza has "an extremely ancient heritage, very precious for the region, showing the succession and coexistence of peoples, cultures and religions.”

Of Gaza's two museums, one has been destroyed and the other heavily damaged since the war erupted nearly two years ago.

Researchers told AFP that aside from scattered ruins highly vulnerable to bombardment, the EBAF storehouse was the only significant repository of artifacts left in the Palestinian territory.

The rediscovery of Gaza's past began in the wake of the 1993 Oslo accords.

Two years later, the newly created Gaza antiquities service opened its first archaeological dig in cooperation with EBAF, unearthing remnants of the ancient Greek port of Anthedon and a Roman necropolis.

Excavations stalled after Hamas seized power in 2007 and Israel imposed a blockade, resuming years later with support from the British Council and French NGO Premiere Urgence Internationale (PUI).

Now, with Israel contemplating a full takeover of Gaza and ceasefire talks stalled, archaeologists say prospects for renewed excavations are remote.

UNESCO, which has already identified damage to 94 heritage sites in Gaza using satellite images, including the 13th-century Pasha's Palace, has not yet been able to take a full inventory.

"We saved a large part, but in a rescue you always lose things, and you always face painful choices," said Rene Elter, an archaeologist affiliated with EBAF and scientific coordinator for PUI.

The depot, he said, was especially valuable because collections had been classified systematically.

"Many items have been broken or lost, but they had been photographed or drawn, so the scientific information is preserved," Elter explained.

"Perhaps that will be the only trace that remains of Gaza's archaeology -- in books, publications, libraries."



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."