Huge ancient tomb discovered in Egypt /node/2595046/lifestyle
Huge ancient tomb discovered in Egypt
Archaeologists and researchers at the site of the newly discovered tomb at Abydos, one of the oldest cities of ancient Egypt, about 300 miles south of Cairo. (Josef W. Wegner for the Penn Museum)
Site at Abydos, south of Cairo, largest find in over a decade
Unknown king’s final resting place thought to be more than 3,600 years old
Updated 27 March 2025
Arab News
LONDON: Archaeologists in Egypt have discovered a tomb belonging to an unknown pharaoh around 300 miles south of Cairo.
The site, which is being worked on by Egyptian and American researchers, is the second such discovery to be made this year and is believed to be around 3,600 years old.
The tomb was uncovered 23 feet below Abydos, one of Egypt’s oldest known ancient settlements.
With 16-foot-high vaults and ornate decorations across several chambers, the find dwarfs a previous discovery of a tomb in the area from 2014, previously the largest on record, which belonged to a king called Seneb-Kay.
Josef W. Wegner, a curator at the Penn Museum in Philadelphia who is leading the American side of the dig, told the New York Times: “It’s a new chapter in investigating this dynasty.”
The tomb of the unknown king contains painted scenes from ancient Egyptian mythology, including images of the goddesses Isis and Nephthys.
Describing the find as “exciting,” Wegner said: “This tomb and Seneb-Kay’s tomb are the earliest surviving royal tombs that actually have painted decorations inside of them.”
However, the tomb has suffered significant damage over the millennia, and no identifiable human remains have been recovered.
It is thought that grave robbers also ransacked the site in the past, with little in the way of artefacts found in the tomb.
The damage caused by the break-ins has also left much of the decoration tarnished, including rendering portions of writing on the structure bearing the king’s name illegible.
Wegner said the identity of the tomb’s owner may be found in other inscriptions on monuments and buildings around ancient Abydos, with two kings named Senaiib and Paentjeni identified as potential candidates.
He added that work would continue to preserve the find, and to uncover other tombs that may shed more light on the broader period, and potentially the identity of the unknown king.
“It’s always our dream to find one that’s intact or partially intact,” he said. “There may yet be tombs like that.”
Prof. Anna-Latifa Mourad-Cizek, a University of Chicago archaeologist, told the NYT that the find is “highly significant” for understanding “a fascinating period when Egypt was controlled by competing powers.”
Wegner said the era was defined by “a phase of warrior pharaohs fighting it out,” adding that the skeleton of Seneb-Kay bore wounds that suggested he could have died in battle.
Though the region was fragmented at the time, Wegner said, the Abydos dynasty was not “a kind of flash in the pan where you’ve got a handful of kings breaking off from whatever original territory they belonged to.”
The dynasty laid the foundations for the later unification of the country in what would later become known as “the great empire of the New Kingdom,” he added.
Where We Are Going Today: Iris Cafe in Riyadh: diverse menu, inviting atmosphere. What’s not to like?
Updated 29 May 2025
Rahaf Jambi
Iris Cafe is an elegant dining destination nestled within the new Ramla Terraza complex, offering a delightful blend of food and ambiance. Located on King Fahd Road in the Sahafah district of Riyadh, this cafe and restaurant boasts a beautiful interior, complemented by both indoor and outdoor seating options. The upper floor features a stunning garden with an open seating area and a mocktail bar, perfect for enjoying a refreshing drink in a serene environment.
The menu at Iris Cafe is a culinary journey, showcasing gourmet dishes inspired by international cuisines, including Mediterranean, Japanese, and Latin American flavors. Guests can indulge in a variety of offerings, from sandwiches and pasta to vibrant salads. The drink selection is equally impressive, featuring specialty coffees and a creative array of mocktails alongside delicious desserts.
Visitors may begin with the Iris Oriental Dips, which include creamy black hummus, spicy roasted chickpeas, and special muhammara seasoned with parmesan cheese and fresh basil, all served with homemade crackers. This appetizer sets a high standard for the meal to follow and does not disappoint.
However, the chicken tacos, featuring buttermilk-fried chicken topped with Asian slaw in a soft tortilla, are less memorable. On the other hand, the crispy chicken and shrimp wontons served with sweet chili and lime sauce are a highlight and a must-try.
For the main course, you may try the glazed chicken, marinated and grilled with pomegranate sauce. The beef cheek, slow-cooked for 12 hours and served with caramelized onion cream, is absolutely delicious. This dish is a standout and sure to impress anyone looking for tender, flavorful meat.
The San Sebastian cheesecake is rich and incredibly satisfying. Overall, Iris Cafe offers a wonderful dining experience with its diverse menu and inviting atmosphere, making it a must-visit spot in Riyadh.
5 bodies appearing to be missing musicians of Mexican regional music band found near Texas border
The musicians from the band Grupo Fugitivo had been reported missing since Sunday
The genre they played – Mexican regional music, which encapsulates a wide range of styles including corridos and cumbia
Updated 29 May 2025
AP
CIUDAD VICTORIA, Mexico: Five bodies that appeared to be members of a Mexican regional music group who had gone missing were found in the northern city of Reynosa, along the Texas border, authorities said on Thursday.
The musicians from the band Grupo Fugitivo, which played at parties and local dances in the region, had been reported missing since Sunday.
The genre they played – Mexican regional music, which encapsulates a wide range of styles including corridos and cumbia – has in recent years gained a spotlight as it’s entered a sort of international musical renaissance. Young artists have mixed the classic genre with trap and sometimes pay homage to leaders of drug cartels, often portrayed as Robin Hood-type figures.
While it was not immediately clear if the group played such songs, other artists have faced death threats by cartels, while others have had their visas stripped by the United States under accusations by the Trump administration that they were glorifying criminal violence.
Few details were released about where the bodies were found and in what conditions, but Tamaulipas state prosecutors had been investigating the case, according to a statement by state security officials. The last time they had communicated with their families was Sunday night, when they said they were going to a venue where they were hired to play.
After that, nothing else was heard of them. Officials said the bodies shared characteristics of artists, though did not provide further detail.
Their disappearance caused an uproar in Tamaulipas, a state long eclipsed by cartel warfare. Their families reported the disappearances, called on the public for support and people took to the streets in protest.
On Wednesday, protesters blocked the international bridge connecting Reynosa and Pharr, Texas, later going to a local cathedral to pray and make offerings to the disappeared.
As of midday Thursday, the state prosecutor’s office had not released further details on the case.
Reynosa is a Mexican border city adjacent to the United States and has been plagued by escalating violence since 2017 due to internal disputes among groups vying for control of drug trafficking, human smuggling and fuel theft.
This case follows another that occurred in 2018, when armed men kidnapped two members of the musical group “Los Norteños de Río Bravo,” whose bodies were later found on the federal highway connecting Reynosa to Río Bravo, Tamaulipas.
Exhibition blends art and memories through archival materials, selected artworks, personal possessions and rare voice recordings
Updated 29 May 2025
Nada Hameed
JEDDAH: The second edition of the Balad Al-Fann art program has opened in Jeddah Historic District and runs until June 15.
The initiative this time presents a captivating series of art exhibitions, held under the theme “Our Storied Walls,” which celebrate memory, culture and place.
It boasts a renewed focus on local narratives with each exhibition looking at the tangible and human heritage of the city.
Held at Nassif Boutique, the exhibition is a tribute to the late artist Hisham Binjabi, a foundational figure in Saudi Arabia’s modern art movement.
Curated by Ayman Yossri Daydban, a former student of Binjabi, the exhibition blends art and memories through archival materials, selected artworks, personal possessions and rare voice recordings.
Arab News spoke to Daydban, who is one of the most prominent contemporary artists in Saudi Arabia, with his works featuring in major museums and biennials.
He said: “This is a personal exhibition. My journey with Hisham Binjabi began over 35 years ago when he discovered my work, admired it, and encouraged me.
“For a whole year his name echoed in my mind, until I held my first solo exhibition in 1991. It was his encouragement and appreciation of my boldness — he said I thought outside the box — that pushed me forward. I found myself naturally drawn to contemporary art.”
Daydban’s art is conceptual, and rooted in ideas and meaning. Binjabi, on the other hand, remained faithful to classical and realist styles.
Daydban said: “For years we observed each other’s work from afar, and every time we met I felt like a student reuniting with his mentor.
“But Hisham was more than an artist — he was a social figure, a cultural activist who managed and promoted art within the community, bringing art into social and human contexts.
“His greatest influence was not just in his paintings, but in his presence, personality, and wisdom.”
The exhibition does not merely display Binjabi’s artworks — it narrates his life story through them.
His wife played a part by telling their story through her lens and, for the first time, her works are featured in a dedicated section alongside audio recordings of her and their daughters, reflecting on their lives together as a creative family.
An audio room on the upper floor features testimonials from contemporary artists who were his students or peers, and more recordings are added daily.
The exhibition unfolds across three levels: a deeply emotional audiovisual experience, a debut showcase of his wife’s personal works, and a collective sonic space for shared memory and reflection.
Daydban added: “Hisham was, above all, a socially engaged artist, and this exhibit is aimed primarily at the community of Al-Balad, where he lived and left his mark.”
The program also honors the late Safeya Binzagr, one of the first female visual artists in the Kingdom.
Curated by Effat Fadag, the exhibition weaves together the visual and literary in a journey filled with nostalgia, history and cultural memory.
The exhibition presents rare paintings, handwritten letters, and personal belongings that reflect Binzagr’s unique lens on Hejazi life. Her deeply human portrayals of women, homes, attire and rituals offer not only artistic beauty but also historic insight.
Titled “Revealing What Was Hidden,” the exhibition shows how Binzagr used her art to bring the past to life. Her work helps keep Saudi culture and history alive.
The event honors her role as an artist and historian, and Fadag said: “I asked myself: What can I say that hasn’t already been said? I wanted to highlight aspects of her journey that aren’t widely known.”
Binzagr was the first woman to publicly showcase her family and community life, giving a voice to the private lives of Saudi women — a society that was largely hidden at the time.
Fadag said: “I tried to reflect this (voice) through the layout of the exhibition, using the historic Nassif House, starting from the main building to the external annex, with three symbolic doors that narrate her story.”
This journey begins with Binzagr’s birth and upbringing, moves through her education, the exhibitions she held, and finally her artistic projects on Saudi traditional attire, which are featured on the second floor.
Fadag said: “In the clothing room you see very personal images — she even modeled for her work so she could better understand and express the exact details she wanted to paint. She knew exactly how to translate her vision.”
The final section focuses on giving back to the community, and how Binzagr impacted learning, the broader culture and society at large.
The initiative also puts the spotlight on a curated selection of winning works from a national photography competition, while Balad Al-Fann also hosts a competition showcasing traditional calligraphy, ceramics, ornamentation, and engraving.
Founded in Dubai by entrepreneur and makeup artist Huda Kattan, the brand topped the global list ahead of industry names such as Dior, Fenty Beauty, Rhode and Rare Beauty.
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DUBAI: Qatar’s first participation in the Venice Biennale of Architecture is a major exhibition spanning two sites in the Italian city — the ACP-Palazzo Franchetti, and the site of what will be the permanent Qatar Pavilion in the Giardini della Biennale. (That pavilion will be the first permanent addition to the historic gardens in more than 30 years.)
The exhibition, “Beyti Beytak. My Home is Your Home. La Mia Casa è la Tua Casa,” is presented by Qatar Museums and curated by the Art Mill Museum — Qatar’s yet-to-be-built museum of modern and contemporary art — and, according to a press release “explores meanings of hospitality within the architecture, urbanism and landscape designs of the Middle East, South Asia, and North Africa region.” It features examples from 30 architects, dating from the mid-20th century to the present day.
Aurélien Lemonier, architect and curator at the Art Mill Museum, and the exhibition’s co-curator, tells Arab News: “The exhibition reflects on the essence of hospitality, not just as tradition but as a spatial and social practice. It explores how architecture from the MENASA region fosters belonging, dignity, and collective life.”
Saudi architect Sumaya Dabbagh’s Mleiha Archaeological Center, completed in 2016. (Courtesy Dabbagh Architects — Photo by Gerry O’Leary, Rami Mansour)
On the permanent pavilion’s future site stands a newly commissioned structure by Yasmeen Lari, Pakistan’s first female architect and a pioneer of humanitarian design. Her bamboo-and-palm-frond “Community Center,” created using zero-carbon, low-cost techniques, was developed through the Heritage Foundation of Pakistan, which Lari co-founded. The structure exemplifies what she calls Barefoot Social Architecture — a methodology that mobilizes local resources, community labor, and heritage crafts to produce flood- and earthquake-resistant structures, addressing, she has said, “climate and social justice.”
“When I spoke with Yasmeen,” recalls Lemonier, “I realized her work is a direct legacy of (Egyptian architect) Hassan Fathy. Like him, she empowers the poor to build their own futures.”
The exhibition draws a clear line of continuity from Fathy’s radical use of earthen materials and community-led design to Lari’s ‘barefoot architecture’ in Pakistan. “Fathy taught communities to build with mud brick and vernacular layouts; not only to survive but to thrive,” he says. “Lari continues that legacy by using architecture as a tool of empowerment.”
A drawing of Hassan Fathy’s Hamdi Seif Al-Nasr Rest House. (Courtesy of The American University in Cairo)
Lemonier’s co-curator Sean Anderson, an associate professor at New York’s Cornell University, says: “For centuries, cities in the MENASA region have been shaped not by individual buildings, but by how people gather, interact, and live together. Today, that wisdom is more relevant than ever, as we witness the planet’s transformations, mirrored by technology’s drive toward a more collective, yet divided, future.”
This spirit is echoed in the main exhibition at Palazzo Franchetti where “Beyti Beytak” becomes an immersive and archival deep dive into MENASA’s architectural richness. Some of the architects featured are being exhibiting in Venice for the first time. The curators’ ambition is to capture the continuity across generations — from pioneers such as India’s Raj Rewal, Abdel-Wahed El-Wakil of Egypt, Pakistan’s Nayyar Ali Dada, and Sri Lanka’s Minnette de Silva to contemporary leaders including Palestinian-Jordanian architect Abeer Seikaly, Bangladesh’s Marina Tabassum, Sumaya Dabbagh of Saudi Arabia, and Palestine’s Dima Srouji.
“‘Beyti Beytak’ is a testament to the architectural heritage and creativity of the Arab world and the Global South,” says Lemonier. “The future Art Mill Museum was conceived as a multidisciplinary institution, one that will embrace this richness not as a regional footnote but as a core narrative.”
Aurelien Lemonier, co-curator of the ‘Beyti Beytak’ exhibition. (Supplied)
The curators have woven together an architectural narrative grounded in civic humanism, tracing three generations of architectural expression through thematic sections that include oases, mosques, museums, housing, and gardens, with a special focus on community centers and urbanism in Doha.
“The selected architects’ work forms a chorus of alternative futures; ones where architecture is not a luxury, but a deeply human practice of care, resilience, and place making,” says Anderson. In fact, one of the pavilion’s central propositions is that, architecturally, traditional knowledge may offer more-resilient solutions to climate change than high-tech design.
“It’s a paradox,” Lemonier admits. “You’d think triple-glazed facades and cutting-edge systems are more advanced — but mud, lime, and bamboo buildings often perform better in extreme climates. What we see with Yasmeen Lari is a reappropriation of vernacular materiality as climate adaptation.”
Throughout the exhibition, the curators draw a sharp line between architectural conceptualism and communal responsibility.
“Architecture is not sculpture,” Lemonier says emphatically. “It is a social and collective act. The architect must think of themselves not as an artist, but as a participant in a living society.”
This ethos is also reflected in the Doha-based segment of the exhibition, where the urbanism of Qatar is framed as humanist and collective. “Doha offers public parks, civic space, and an architecture of sociability,” Lemonier notes. “It’s not only about the buildings, it’s also about the empty spaces that allow a community to gather. It’s not about big gestures. It’s about how architecture allows a community to live, build with care, with humility, and with others in mind. For me, that’s the measure of success in design.”
Anderson adds: “As architects, we hold a responsibility not just to build, but to shape how we gather, connect, and see one another. Architecture isn’t static. It’s one of the most dynamic ways we experience humanity. This exhibition explores how space can be a vessel for empathy — especially in a time when technology often divides us. Yasmeen Lari’s work may be rooted in (Pakistan’s province of) Sindh, but its message transcends borders: it asks us to reflect on what it truly means to design for people.”
By placing Lari’s work in direct dialogue with the legacy of Hassan Fathy and by elevating regional voices too often overlooked, “Beyti Beytak” challenges dominant norms in global architecture. And it offers a compelling argument: Your home is not just yours — it belongs to the community, the climate, and the culture it serves.
For the Arab world and the broader MENASA region, “Beyti Beytak” positions architects as custodians of culture and agents of justice.
“This exhibition is not just about buildings,” says Lemonier. “It is about how we live together, how we welcome one another and how we shape a shared future through design.”
