Egypt Unveils the World's Largest Museum Dedicated to a Single Civilization

(FILE) - A view of the Grand Egyptian Museum during partial trial operation in Giza, Egypt, 15 October 2024 (reissued 31 October 2025). EPA/MOHAMED HOSSAM
(FILE) - A view of the Grand Egyptian Museum during partial trial operation in Giza, Egypt, 15 October 2024 (reissued 31 October 2025). EPA/MOHAMED HOSSAM
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Egypt Unveils the World's Largest Museum Dedicated to a Single Civilization

(FILE) - A view of the Grand Egyptian Museum during partial trial operation in Giza, Egypt, 15 October 2024 (reissued 31 October 2025). EPA/MOHAMED HOSSAM
(FILE) - A view of the Grand Egyptian Museum during partial trial operation in Giza, Egypt, 15 October 2024 (reissued 31 October 2025). EPA/MOHAMED HOSSAM

Egypt is inaugurating on Saturday the Grand Egyptian Museum, two decades in the making, with the aim of drawing more visitors to revitalize the country's tourist industry.

Located just outside Cairo on the Giza Plateau which also includes the three pyramids and the Sphinx, the museum will be the world’s largest dedicated to a single civilization. It will display over 50,000 artifacts detailing life in ancient Egypt.

World leaders, including monarchs, heads of states and governments, are set to attend the grand opening ceremony, according to the Egyptian presidency which touted the museum as “an exceptional event in the history of human culture and civilization.”

The museum is one of the megaprojects championed by President Abdel-Fattah al-Sisi since he took office in 2014. He has embarked on massive investments in infrastructure with the aim of reviving an economy weakened by decades of stagnation and battered by the unrest that followed the 2011 Arab Spring uprising.

Preparations for the grand reveal have been shrouded in secrecy. The museum, which was opened for limited visits in recent years, has been closed for the past two weeks.

The government has revamped the areas around the museum and the nearby Giza Pyramids. Roads were paved and a metro station is being constructed outside the museum gates to improve access. An airport, Sphinx International Airport, has also opened west of Cairo — 40 minutes from the museum.

The $1 billion facility had faced multiple delays, with construction beginning in 2005 but interrupted due to political instability.

The museum, known as GEM, boasts a towering, triangular glass façade imitating the nearby pyramids, with 24,000 square meters (258,000 square feet) of permanent exhibition space.

From the atrium, a grand six-story staircase lined with ancient statues leads up to the main galleries and a view of the nearby pyramids. A bridge links the museum to the pyramids, allowing tourists to move between them either on foot or via electric vehicles, according to museum officials.

The museum’s 12 main galleries, which opened last year, exhibit antiquities spanning from prehistoric times to the Roman era, organized by era and by themes.

Two halls are dedicated to the 5,000 artifacts from the collection of King Tutankhamun, which will be displayed in its entirely for the first time since British archaeologist Howard Carter discovered King Tut’s tomb in 1922 in the southern city of Luxor.

Zahi Hawass, Egypt’s most renowned archaeologist and former minister of antiquities, said the collection of Tutankhamun is the masterpiece of the museum.

“Why this museum is so important, and everyone is waiting for the opening?” he told The Associated Press. “Because of Tutankhamun.”

The collection includes the boy pharaoh’s three funeral beds and six chariots, his golden throne, his gold-covered sarcophagus and his burial mask, made of gold, quartzite, lapis lazuli and colored glass.

The government’s aim is that the museum will draw more tourists who will stay for a while and provide the foreign currency Egypt needs to shore up its economy.

The tourism sector has suffered during years of political turmoil and violence following the 2011 Arab Spring uprising. In recent years, the sector has started to recover from the coronavirus pandemic and the effects of Russia’s war on Ukraine — both countries are major sources of tourists visiting Egypt.

A record number of about 15.7 million tourists visited Egypt in 2024, contributing about 8% of the country's GDP, according to official figures. The government aims to attract 30 million visitors annually by 2032.

The museum will be open to the public starting Tuesday, authorities said.



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."