Culture

In our first article, we followed the steps of the Grand Egyptian Museum's construction and explored its technical department, responsible for the restoration of objects discovered by archaeologists. It's time to discover some of the treasures it holds. As soon as you push open the GEM's door, a majestic hall (the Atrium) of 10,000 square meters welcomes us under a glass roof and a grandiose staircase of 108 steps spanning an area of 6,000 square meters over 6 floors. The museum comprises 12 galleries and has a structure organized around three main themes: royalty, society, and beliefs, thus covering periods from the pre-dynastic era to the Greco-Roman era.

On November 1, 2026, twenty years after construction work began, the Grand Egyptian Museum, or GEM, finally opened its doors. It is the sixth-largest museum in the world and the largest ever dedicated to a single civilization. During a Pharaonic inauguration attended by numerous heads of state, Egyptian President Abdel Fattah al-Sisi presented the new museum as a gift from Egypt to the rest of the world. A History Marked by Obstacles The story of the GEM began in 1992, when Egypt’s then Minister of Culture, Farouk Hosny, proposed the creation of a new museum to replace the old Cairo Museum, which had become obsolete. The project aimed to bring together Egypt’s invaluable archaeological treasures, previously scattered across various sites. The foundation stone was laid in 2002, but construction work effectively began only in 2005.

Like all museums in the world, the National Museum of Beirut is the guardian of a history grappling with the throes of oblivion. However, it is not limited to this mission: it also aims to be rooted in the present and oriented towards the future. It was in this spirit that the idea of opening an annex center to the Museum was born, intended to promote contemporary Lebanese culture, art, and artists. This center also aimed to ensure the sustainability of the National Museum of Beirut by generating revenue from cultural and social activities, as well as space rentals, among other things. This idea of a center dedicated to contemporary art emerged within the National Heritage Foundation. The annex pavilion project was championed by three women: Mona Hraoui, Rima Shéhadé, and Salma Es Said, wife of Nuhad Es Said, after whom the center is now named.

In the Middle East, museums are far more than mere stone settings for endangered masterpieces. They are places where memory, identity, and soft power games between states are constantly replayed. Some Levantine countries—though cradle to the greatest civilizations of antiquity—have been shaken by wars, revolutions, and shifting geopolitical balances. In these lands, every museum display case, every restored artifact becomes a political gesture, an act of national resilience. Museums serve as anchors for peoples in search of identity and a unified reading of their own history. In the Gulf region, the stakes are different. Art in general and museums in particular are indeed guardians of memory and traditions, yet they are also powerful tools of soft power and a way of improving citizens’ quality of life. Culture is seen as a key driver of progress and a pillar of the region’s future—hence the abundance of cultural initiatives and new museums showcasing state-of-the-art museological technology.

The survival of the National Museum of Lebanon is a miracle. Located on the demarcation line that divided the capital between the warring parties, the building was the target of gunfire and shells. But the country's main archaeological museum, which houses exceptional collections ranging from prehistory to the Mamluk period, was able to be reborn just after the war. The museum’s construction The idea for the museum emerged in the early 20th century, when plans were made to bring together in one place the collection of Raymond Weill, a French officer stationed in Lebanon. The building was constructed between 1930 and 1937 during the French Mandate, thanks to the efforts of the Friends of the Museum Committee led by Bechara El Khoury, then Prime Minister and Minister of Education. It was officially inaugurated on May 27 1942, following the designs of architects Antoine Nahas and Pierre Leprince Ringuet, in a monumental ochre-stone style inspired by antiquity.

For several decades, Sharjah has distinguished itself as the cultural capital of the Arab world, a title officially bestowed by UNESCO in 1998 in recognition of the emirate’s commitment to art, culture, and education, as well as its cultural landscape. Under the guidance of Sheikh Sultan bin Mohammed Al Qasimi, who has ruled the emirate since 1972, Sharjah has developed a unique artistic ecosystem in the Middle East, establishing itself as an essential destination for art lovers and cultural professionals alike. The modern history of art in Sharjah is closely tied to the founding of the Sharjah Art Foundation in 2009, under the leadership of Sheikha Hoor Al Qasimi. This multidisciplinary institution supports both local and regional artistic creations while fostering connections with international artists. The foundation regularly stages major exhibitions, organizes workshops in collaboration with partners, and offers research grants and mentorship programs aimed at empowering young artists, women, and innovative creators.

The entire Gulf region, and especially Saudi Arabia, is currently experiencing major social and economic transformations. These countries, whose economy once relied solely on oil production, are rapidly opening up to new technologies, AI, global sporting events, and most importantly, art and culture. From Jax, the cultural district of Riyadh, to the AlUla Oasis, Saudi Arabia—the largest country in the Middle East—is investing huge sums to promote art and culture. For the Saudi government, in a society undergoing profound changes, art helps preserve the country’s cultural heritage, transmit traditions and ancestral know-how, while opening the door to cutting-edge artistic projects. Among these ambitious projects, Riyadh Art holds a special place. Launched in 2019 by King Salman bin Abdulaziz Al Saud, it is part of Vision 2030, the grand development plan of Crown Prince Mohammed bin Salman.

From the past tragedies to the dramatic arts. The infamous locations from the era of the Assads, father and son, are now hosting cameras and other film equipments. Whether in Saydnaya or Mazzeh, actors and directors have replaced the torturers who zealously served the interests of the former Syrian regime. Many series currently in production have chosen to film scenes at military sites or security service headquarters that symbolized the reign of terror. Like the Mazzeh airfield, which housed a detention center for the Air Force intelligence service, notorious for its cruelty. The Air Force's "Mukhabarat" were the main pillar of the regime of former pilot Hafez al-Assad, who became president of the Syrian Arab Republic for several decades.

For several years, the Gulf States have been investing enormous resources to transform the region into a world-class artistic, technological, and educational hub. Qatar is no exception and has been doubling its efforts to attract talents from around the globe while nurturing local skills. The Qatari state continues to launch ambitious projects, whether artistic, architectural, or sporting such as the FIFA World Cup held in Qatar in 2022.To achieve this goal, the government collaborates with internationally renowned artists, high-level cultural and educational institutions, and top local and international talents.

The Muscat Opera House is one of the most iconic landmarks in Oman. It was built in 2011 at the request of Sultan Qaboos bin Said. Great lover of art and opera, the Sultan wanted to create a cultural exchange center between Oman and the rest of the world, as well as a platform to promote both global and local artistic performances. A symbol of Oman’s cultural diplomacy since its inauguration, the Royal Opera House Muscat is an architectural masterpiece which cleverly combines the classical style of opera houses with Omani architectural tradition. It successfully blends Islamic influences with contemporary design and high-tech requirements needed for such a building.