A Bogotá court ordered the National Museum to safeguard nearly 30 removed works as professors protested the government’s decision.

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A Bogotá court has ordered Colombia’s National Museum to preserve nearly 30 artworks removed from its exhibitions, prohibiting further alterations or removals without legal authorization amid growing protests over the government’s decision to take down pieces related to the armed conflict, feminism and LGBTQ+ communities.

RELATED: De La Espriella’s Cultural Counterrevolution In Colombia Kicks Off

The 24th Family Court of Bogotá issued the precautionary measures in response to a constitutional protection petition filed by Gabriel Becerra Yáñez, secretary-general of the Unión Patriótica party, and members of the León Zuleta and Revolución en Rosa collectives.

Judge César Enrique Osorio Ortiz ordered the museum to keep the affected works in appropriate conservation conditions and prohibited the institution from moving, destroying, altering, deaccessioning or returning them to third parties. The museum must also preserve all records, exhibition plans, minutes and communications related to the removals.

The court gave the museum’s management 24 hours to submit a detailed report identifying the works’ current locations and conservation conditions, including items removed from exhibition rooms and the Miguel Ángel Díaz memorial garden. The report must also identify the authority responsible for ordering their removal.

🇨🇴 Seis museos de arte moderno de Colombia cuestionaron el retiro de al menos 30 piezas históricas del Museo Nacional en Bogotá. #teleSUR #Colombia #Cultura pic.twitter.com/dsicaHCuPI

— teleSUR TV (@teleSURtv) October 18, 2026

Text Reads: Six modern art museums in Colombia questioned the removal of at least 30 historical pieces from the National Museum in Bogotá.

The dispute began last week after President Abelardo de la Espriella ordered nearly 30 works removed from the museum’s permanent exhibitions. His office characterized the pieces as an “ode to terrorism.” The works address historical memory of Colombia’s armed conflict, feminist demands, LGBTQ+ rights and the 2016 peace agreement with the Revolutionary Armed Forces of Colombia (FARC).

Court cites constitutional protection for historical memory

In its ruling, the court emphasized that artistic expressions connected to historical memory, truth-seeking and symbolic reparation for victims are protected under Colombia’s Constitution.

The decision cited the Constitutional Court’s recognition that such works serve a broader public purpose.

“Artistic expressions associated with processes of historical memory, extrajudicial truth and symbolic reparation for victims are not merely cultural manifestations, but constitutionally protected instruments for building collective memory, dignifying victims and ensuring guarantees of non-repetition,” the ruling stated.

The judge added that these expressions warrant enhanced protection because of their close links to the fundamental rights to truth, historical memory, artistic freedom of expression and symbolic reparation for victims.

The court found reasonable grounds to suspect that these rights had been violated and warned that further harm could occur without immediate conservation measures. It said the precautions were necessary, urgent and proportionate to prevent irreparable damage while the case is considered on its merits.

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Text Reads: Historical memory cannot be erased!
The justice system accepted our legal petition and ordered the protection of the works removed from the National Museum, the halting of any further unjustified removals, and the preservation of the garden dedicated to Miguel Ángel Díaz.
The memory of the victims and the rights that have been won must be defended!

The petition names both the Ministry of Cultures, the Arts and Knowledge and the National Museum. Each has one business day to respond, submit evidence and clarify whether administrative decisions authorized the removals, as well as the degree of institutional autonomy between the two bodies.

The proceedings also involve President de la Espriella, Bogotá’s Secretariat for Women, the Sexual Diversity Directorate of the District Planning Secretariat, the Secretariat for Social Integration, the Sí Mujer Foundation and the Colombian Communist Party. These parties were also given one business day to submit evidence.

Professors hold classes outside museum in protest

The legal challenge comes as opposition to the removals has spread beyond the courtroom. On Monday, university professors moved their classes to the steps of the National Museum, holding open-air lectures to discuss the government’s decision and what they described as censorship.

Academics from several disciplines used an amplification system to address the public. The sessions took place under the watch of numerous officers from the National Anti-Riot Unit (Unadi), the same force deployed during large demonstrations outside the museum over the weekend.

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Text Reads: ABELARDO DE LA ESPRIELLA SEEKS TO ERASE HISTORICAL MEMORY
The president has ordered the removal of images and references to Carlos Pizarro Leongómez—former M-19 commander and a key figure in the peace process—from government-controlled public spaces. This decision follows the provisional suspension of the designation of his hat as a piece of cultural heritage, and comes amid a visit to the Ministry of Culture, during which he also lashed out against inclusive language.
Arguing that “terrorists” should not occupy public spaces, the government is attempting to dictate which parts of history deserve to be remembered.
Memory cannot be erased by decree. History cannot be rewritten from a position of power.

Catalina Muñoz Rojas, an associate professor in the Department of History and Geography at the University of the Andes and an organizer of the classes, said the removed works were part of exhibitions developed over years to reflect the pluralism and diversity enshrined in Colombia’s 1991 Constitution.

She argued that the president’s intervention disrupted democratic, participatory curatorial processes involving communities from across the country. The professors plan to continue their educational activities throughout the week, engaging members of the public and the officers stationed outside the museum. Organizers urged the officers to respect the peaceful, academic nature of the protest.

Ana López, a resident of Colombia who attended the demonstrations, described the government’s decision as arbitrary and authoritarian, warning of the risk of more sweeping censorship aimed at silencing the country’s cultural and social diversity.

The removals have also prompted public criticism from Colombia’s modern art museums and the Colombian committee of the International Council of Museums (ICOM Colombia), alongside protests outside the institution.

The court’s precautionary measures will remain in force while it considers the petition’s merits. The proceedings will address the legal basis for the removals and allegations that the decision violated rights related to historical memory, artistic expression and symbolic reparation.

A 500-year-old religious triptych by Andrea Previtali has been brought together for the first time in almost two centuries. The reunion forms the centrepiece of a new exhibition examining the painter’s place in the Venetian Renaissance.

Three panels of a Renaissance altarpiece, separated for almost 200 years, have been reunited in Italy for an exhibition opening on Saturday, 17th October, offering visitors a rare opportunity to see a work by Andrea Previtali in its original arrangement.

The painting, created around 1515 for the Church of the Annunciation in Serina, near Bergamo, has been reconstructed through cooperation between the Diocese of Bergamo and the Museo Villa Bassi Rathgeb in Abano Terme, close to Padua. One panel, depicting a bishop saint, belongs to the museum’s permanent collection, while the remaining two have been brought together for the exhibition.

The reunion was confirmed on 16 October by Italy’s Ministry of Culture heritage authority. It forms the central attraction of Andrea Previtali: Disciple of Giovanni Bellini, which runs until 7th February 2027 and examines the career of a painter who worked between two important artistic centres of Renaissance Italy.

Reconstructing a Renaissance Altarpiece

The three panels originally formed a triptych, a type of religious painting consisting of a central image flanked by two wings. Such works were commissioned for churches and private chapels, where they served as devotional objects and demonstrations of the artistic ambitions of their patrons.

Over succeeding centuries, many Renaissance altarpieces were dismantled, removed from their original settings or dispersed among private collections and museums. Their individual panels could subsequently be displayed as independent works, losing much of the relationship between the images originally intended by the artist.

The Previtali triptych provides an example of how those connections can be recovered.

The Museo Villa Bassi Rathgeb holds the panel depicting a bishop saint as part of the collection assembled by Roberto Bassi Rathgeb, an art historian and collector who contributed to renewed scholarly interest in Previtali.

His collection, donated to the municipality of Abano Terme between 1972 and 1980, contains important examples of painting from the Bergamo and Brescia schools.

The collaboration with the Diocese of Bergamo has now made it possible to display the bishop saint alongside the two surviving companion panels from the original altarpiece. Their reunion allows the work to be studied as a complete composition rather than as three separate paintings.

It also offers an opportunity to reassess Previtali’s decisions concerning the relationship between figures, religious symbolism and the architectural arrangement of devotional paintings.

A Pupil of Giovanni Bellini

Andrea Previtali was born around 1480 in Valle Imagna, in the territory of Bergamo, before moving to Venice, where he entered the workshop of Giovanni Bellini.

Bellini was among the most influential painters of the Venetian Renaissance, known for his treatment of colour, light and religious subjects. His workshop trained artists who would help establish the distinctive visual language of sixteenth-century Venetian painting.

Previtali’s connection to his master is documented in an inscription on his 1502 painting Madonna and Child with Donor, now held by the Musei Civici di Padova.

The artist described himself as a pupil of Giovanni Bellini, a declaration that has become an important piece of evidence for reconstructing his early career.

The new exhibition explores that relationship by displaying works by Previtali alongside paintings associated with the artistic environment in which he trained.

Among the loans is Bellini’s Saint Justina, from the Museo Bagatti Valsecchi in Milan. Although painted before Previtali’s mature career, it demonstrates the treatment of sacred figures, colour and composition that influenced succeeding generations.

The exhibition also includes works connected with Francesco Bissolo, Girolamo da Santacroce, Palma il Vecchio and Giovanni Busi, known as Cariani.

Together, they illustrate the movement of artistic ideas between Venice, Bergamo and Brescia during a period in which painters increasingly travelled between workshops, cities and patrons.

Venice, Bergamo and the Changing Renaissance

Previtali’s career developed at a time when the artistic traditions of northern Italy were undergoing considerable change.

The Venetian school placed particular emphasis on colour and atmosphere, while painters working in Lombardy drew on different approaches to portraiture, religious narrative and landscape.

Previtali’s paintings reflect both traditions. His subjects included Madonnas, religious gatherings, portraits and landscapes, often combining carefully observed human figures with detailed natural backgrounds.

After returning to Bergamo, he encountered the work of Lorenzo Lotto, whose approach to portraiture and religious painting introduced further stylistic developments.

The exhibition therefore examines Previtali not simply as a follower of Bellini, but as an artist whose work developed through exchanges between different regional schools.

It also includes Renaissance portraits, among them a painting on loan from the Accademia dei Concordi in Rovigo.

A separate section examines the practical techniques employed in Renaissance workshops, using physical and digital displays to explain how artists prepared, constructed and completed their paintings.

Such research has become increasingly important in the study and preservation of Europe’s Old Master paintings, allowing historians to reconstruct relationships between works that have survived in different institutions.

The restoration and presentation of historic collections also forms part of the wider debate about protecting Europe’s cultural heritage.

The Previtali exhibition has been organised by the municipality of Abano Terme in cooperation with the University of Padua and the Italian heritage authorities. It is curated by Raffaele Campion and Barbara Maria Savy.

Visitors will be able to see the reunited triptych at the Museo Villa Bassi Rathgeb from 17th October until 7th February 2027. The exhibition provides a rare chance to examine the three panels together and to understand how a religious commission created more than five centuries ago fitted into the artistic culture of Renaissance northern Italy.

A new exhibition in Belgium brings together a 1956 painting by Paul Delvaux and its original preparatory drawing, revealing how the artist transformed his composition and concealed elements beneath the finished work.

Scientific examination of a painting by Belgian surrealist Paul Delvaux has revealed significant changes to its original composition, including figures and other details concealed beneath layers of paint. The findings are being presented in a new exhibition opening on 16 October at Musée L in Louvain-la-Neuve.

The exhibition, La Ville lunaire II: The Hidden Side of Paul Delvaux’s Painting, examines a work completed in 1956 and held in the museum’s permanent collection. Through X-ray imaging, infrared reflectography and ultraviolet examination, researchers have been able to investigate the artist’s working methods and compare the finished painting with an original preparatory drawing.

The exhibition, which runs until 7 February 2027, follows the acquisition of the drawing by the King Baudouin Foundation in 2024. Its subsequent deposit at Musée L has made it possible to examine the two works together and reconstruct the development of a composition that underwent substantial alterations.

A Painting Concealing Its Own History

Completed in June 1956, La Ville lunaire II depicts a mysterious nocturnal landscape, with a long avenue, buildings, streetlamps and figures arranged within an unsettling architectural setting.

The painting measures approximately 89 by 139 centimetres and was executed in oil on a fibreboard panel. It entered the museum’s collection in 1990 through a bequest from Dr Charles Delsemme.

Its carefully constructed perspective and unusual treatment of space reflect Delvaux’s interest in creating scenes that appear familiar while remaining detached from ordinary reality.

The museum’s collection records describe the work as a strange nocturnal landscape, with wooden barriers and a sequence of streetlamps establishing its distinctive spatial arrangement.

Yet the painting visible today differs considerably from the composition Delvaux originally envisaged.

Earlier technical examinations had already established that important details were covered during the painting process. The new exhibition brings those findings into direct comparison with the preparatory drawing, enabling visitors to see how the artist’s intentions changed.

An auction catalogue published in 2024 identified several elements present in the drawing and concealed in the painting, including a moon in the right-hand sky, a seated figure on the right and two figures wearing robes near the centre.

These changes are significant because they suggest that Delvaux did more than adjust minor details. He altered the population and lighting of the scene, potentially changing how the composition would be experienced by the viewer.

The reasons for those decisions remain uncertain.

How Scientific Technology Reveals Hidden Paintings

Modern conservation techniques allow researchers to examine works of art without removing the paint that covers earlier stages of their creation.

Infrared reflectography can reveal underdrawings and certain changes concealed beneath surface paint, depending on the materials used by the artist. X-ray imaging can detect differences in the composition of pigments and structures below the visible surface.

Ultraviolet examination provides further information about surface materials and alterations, including some later interventions.

When combined with documentary evidence, these methods help researchers distinguish between an artist’s initial design, revisions made during painting and changes introduced after completion.

The Musée L exhibition uses these techniques to investigate what art historians call pentimenti — visible or detectable alterations that record an artist changing their mind during the creative process.

The preparatory drawing, measuring approximately 28 by 45 centimetres, provides an additional reference point. Executed in ink and pencil, it contains elements that were subsequently revised or painted over in the final composition.

Displayed alongside the finished work, it allows visitors to follow the artist’s decisions from the preliminary design to the version that eventually entered the museum’s collection.

The technical findings also demonstrate the importance of preserving preparatory studies, which can contain information absent from completed paintings.

Paul Delvaux and the Belgian Surrealist Tradition

Born in Antheit in 1897, Paul Delvaux became one of Belgium’s best-known twentieth-century painters, developing a distinctive artistic language associated with surrealism.

His paintings frequently depict classical buildings, railway stations, deserted streets and solitary figures, often arranged in environments where architectural precision contrasts with an atmosphere of uncertainty.

He was influenced by the Italian painter Giorgio de Chirico, whose deserted urban spaces and dramatic perspectives helped establish the visual language of metaphysical painting.

Delvaux’s relationship with de Chirico has been examined extensively by art historians, including Joël Roucloux, whose study of La Ville lunaire II analysed its architectural perspective, shadows and the psychological effect of its composition.

The painting’s apparently moonlit setting is particularly interesting in light of the concealed moon identified by technical examination.

The absence of that celestial body from the final visible composition changes the relationship between the painting’s title and its visual content, leaving the viewer to interpret the source of its unusual illumination.

This approach distinguishes Delvaux from other Belgian surrealists, including René Magritte, whose work frequently relied on recognisable objects placed in logically contradictory situations.

For Delvaux, architecture, perspective and the arrangement of human figures were equally important in constructing a world that appears coherent but resists conventional interpretation.

A New Examination of a Familiar Work

The exhibition forms part of Musée L’s programme devoted to research into its permanent collections, rather than a conventional retrospective of the artist’s career.

Its central purpose is to explain how a single painting developed, from its first drawn composition through successive revisions to its completed form.

The research has been supported by the Jacqueline Delcourt-Nonkels Fund, managed by the King Baudouin Foundation.

For visitors, the opportunity is to examine not only a painting by one of Belgium’s leading surrealists, but also the evidence of the artistic decisions that shaped it.

The exhibition is open at Musée L in Louvain-la-Neuve from 16 October 2026 to 7 February 2027. By presenting the original drawing, technical images and finished painting together, the museum offers a detailed examination of Delvaux’s methods and the changes he made to one of his most carefully constructed nocturnal scenes.

Excavations at the ancient Roman city of Altinum have revealed the probable remains of an early Christian cathedral and bishop’s palace, offering new evidence about the origins of Venice and the transformation of its lagoon settlements.

Archaeologists working near Venice have identified what they believe to be the remains of a 1,600-year-old cathedral and an adjoining episcopal palace, resolving a longstanding question about the location of one of the region’s earliest Christian centres.

The discovery was announced on 15 October by Ca’ Foscari University of Venice, following excavations at Altinum, an important Roman settlement on the mainland near the Venetian lagoon. The foundations of a substantial religious complex have emerged from an area where ancient written accounts had long indicated the existence of a cathedral, although its precise location had remained unknown.

The findings suggest that the church was constructed between the late fourth and early fifth centuries AD, making it the earliest Christian church so far identified archaeologically in the Venetian territory. The researchers believe the complex provides physical evidence of the period when Christianity was becoming an important political and administrative force in the declining Roman Empire.

A Cathedral Hidden Beneath a Roman City

The newly identified church was a rectangular structure approximately 30 metres long and 20 metres wide, without an apse and orientated towards the east. Its layout differs from the surrounding Roman street grid, reflecting the religious requirements of the early Christian community.

The architectural arrangement resembles early churches in the northern Adriatic region, particularly those associated with Aquileia, which was an important centre of Christianity during late antiquity.

An adjoining building, distinguished by its substantial foundations and a complex arrangement of internal rooms, has been provisionally identified as the bishop’s palace. Archaeologists believe it may have stood two storeys high, with residential accommodation for senior clergy above rooms potentially associated with privileged burials.

Among the most revealing discoveries is the extensive reuse of stone paving blocks taken from the Roman streets. These materials were incorporated into the foundations of the ecclesiastical buildings, providing evidence of how the city was being physically reorganised during the transition from Roman to Christian administration.

The university’s researchers suggest that the removal of public paving materials may also indicate the authority exercised by the bishop over urban infrastructure. This interpretation would place the emerging Church at the centre of the city’s political transformation.

Ancient Written Accounts Supported by Archaeology

The existence of an early Christian cathedral at Altinum had been documented in letters written by Saint Jerome, one of the most influential Christian scholars of the late Roman period.

Writing in AD 396, Jerome referred to the religious activities of Nepotian, a priest associated with Heliodorus, the first bishop of Altinum. His descriptions included the maintenance of church furnishings, walls, floors and sacred vessels, suggesting an established and relatively prosperous Christian institution.

Until now, however, archaeologists had struggled to connect those accounts to a particular building.

The latest excavations, combining evidence collected during the 2025 and 2026 campaigns, have provided what researchers consider a convincing identification of the ecclesiastical complex.

The excavation is directed by Diego Calaon of Ca’ Foscari University and co-directed by Elisa Possenti of the University of Trento. Their work has brought together earlier archaeological records and newly examined foundations, including sections exposed during investigations in previous decades.

Researchers have also identified a burial area dating from the sixth and seventh centuries. Many graves were disturbed when construction materials were removed from the abandoned complex, but surviving human remains offer opportunities for further scientific investigation.

Radiocarbon dating, anthropological examinations and additional geophysical surveys are planned to establish a more detailed chronology and search for other elements of the religious complex, including its baptistery.

What the Discovery Reveals About Venice’s Origins

The historical importance of Altinum extends beyond the cathedral itself.

The ancient settlement was an important Roman commercial centre with connections to the waterways of the northern Adriatic. As political, environmental and demographic conditions changed during late antiquity, its population and institutions gradually shifted towards settlements within the lagoon.

One of the most important destinations was Torcello, which later became an early centre of Venetian civilisation.

Traditional accounts have often portrayed the creation of lagoon settlements as a response to barbarian invasions, with mainland inhabitants fleeing to isolated islands for protection.

The latest archaeological findings support a more complicated process.

Research at Altinum and Torcello indicates that the movement of people, religious institutions and construction materials was gradual and organised rather than the consequence of a single catastrophic event.

The cathedral appears to have been systematically dismantled during the first half of the seventh century, with substantial quantities of its stone and brick transferred to developing lagoon communities.

A surviving inscription records the establishment of Torcello’s cathedral in AD 639, providing an important chronological reference for the movement of ecclesiastical authority.

The findings add to the wider study of Europe’s surviving archaeological and architectural heritage, particularly the transformation of Roman settlements into medieval urban centres.

They also demonstrate how archaeological evidence can challenge historical narratives constructed centuries after the events they describe.

Much of the late-antique landscape at Altinum disappeared because of centuries of agricultural activity and the systematic removal of reusable building materials. In many cases, the excavators are studying trenches left by the extraction of foundations rather than surviving walls.

Further investigations may determine the complete extent of the episcopal complex and clarify the chronology of its abandonment.

For the first time, however, researchers can locate the religious buildings associated with Altinum’s earliest Christian bishops and trace their connection to the communities from which medieval Venice eventually emerged.

Excavations in Germany’s Ruhr region have uncovered evidence of a substantial underground mining operation that predates the area’s industrial expansion. The discovery is providing new clues to the origins of European coal mining.

Archaeologists have identified a previously unknown coal-mining tunnel stretching at least 130 metres beneath woodland near Sprockhövel in western Germany. The remains provide evidence of coordinated underground construction at a time when the Ruhr’s mining industry was still developing, long before the region became synonymous with heavy industry.

The discovery was announced on 15 October by the Westphalia-Lippe Regional Association (LWL), whose archaeologists are working alongside the German Mining Museum in Bochum and GeoPark Ruhrgebiet. The team says its findings shed light on tunnelling techniques used before the eighteenth century, although the newly identified passage has not yet been given a precise scientific date.

At Haßlinghausen, a forest floor conceals old shafts, spoil heaps and depressions left by abandoned mining operations. Researchers did not enter an intact underground gallery. Instead, they identified the location of a collapsed passage by excavating at two former shaft sites and drilling into the surrounding spoil. Subsidence created by the collapse left a recognisable trace above ground.

How Early Miners Organised Underground Work

The evidence suggests a more complex operation than miners simply following exposed seams into the earth. Construction shafts were sunk at intervals along the proposed tunnel. Workers descended through them and excavated separate stretches underground, later joining those sections into a continuous passage.

This method allowed several groups to work simultaneously rather than advancing from a single entrance. It also demanded planning and considerable labour. The filled-in shafts and disturbed soil are still visible in the excavated sections, enabling specialists to reconstruct the miners’ methods even though much of the original tunnel has collapsed.

Till Kasielke of GeoPark Ruhrgebiet explained that the construction shafts were located beside the underground route and then filled after the gallery was completed. Jennifer Garner, an archaeologist at the German Mining Museum, said the excavations would provide material for scientific dating and a better understanding of the effort required to build the structures.

The latest work follows a 2025 investigation of a separate, approximately 70-metre tunnel nearby. That earlier feature reached a coal seam some ten metres below ground. Researchers suspected it might predate the seventeenth century because it appeared to have been overlooked during later mining activity. The newly identified 130-metre passage is a distinct discovery.

The chronology matters because horizontal tunnels changed the possibilities of coal extraction. Early miners could reach seams by digging pits or inclined shafts, but groundwater increasingly obstructed work at depth. Drainage galleries allowed water to escape, making deeper workings more practical and potentially extending the life of individual mining sites.

An Industrial Region’s Earlier History

The Ruhr is usually associated with the vast collieries, factories and transport infrastructure that drove Germany’s expansion in the nineteenth and twentieth centuries. Yet coal was extracted locally during the Middle Ages. The transition from small workings to organised subterranean networks remains poorly documented, partly because written records from the earliest periods are scarce.

The archaeological research programme, which began with related investigations in 2024, is intended to address that gap. The team has excavated soil layers associated with old shafts, and the recovered material may help establish when specific construction techniques were introduced. For now, it would be premature to assign the new passage a medieval date.

At Essen, the UNESCO-listed Zollverein Coal Mine Industrial Complex preserves the architecture and machinery of the Ruhr’s later industrial era. The remains at Sprockhövel represent a different historical record: temporary shafts, collapsed passages and waste deposits left by miners whose operations preceded industrial-scale coal production.

Across Europe, such landscapes have become an important part of cultural heritage. EU Today has previously reported on the preservation of Belgium’s Bois du Cazier colliery, where 262 people died in the 1956 mining disaster. In Sprockhövel, the focus is on a much earlier workforce, whose organisation and technical knowledge must be reconstructed from the ground itself.

Further dating and analysis will determine whether the newly identified tunnel pushes back the known chronology of organised drainage and gallery construction in the Ruhr. The excavations have already established that a substantial underground project once operated beneath a forest whose surface retains remarkably little indication of the work carried out there.

Image credit: LWL-Archäologie für Westfalen / Manuel Zeiler

Debris from a Russian drone damaged Cosmogony, a painting that set a national record in Ukraine, the Korsaks Museum of Contemporary Ukrainian Art in Lutsk, where the artwork was exhibited, reported on 14 October. A fire destroyed part of the painting’s final section, titled The Future, according to the statement.

Russian drones continue to attack Ukraine. Overnight into 15 October alone, Ukrainian air defense forces downed or suppressed 536 Russian unmanned aerial vehicles (UAVs). In recent days, Lutsk, a city in northwestern Ukraine, has been among the cities damaged by Russian attacks. Russian UAV attacks set fire to an oil depot, a wholesale warehouse, and a shopping center. At the museum, located on the shopping center’s premises, the fire damaged Ukraine’s largest painting, which covers a canvas of more than 2,000 square meters.

Russian attack damages museum in Lutsk

A fire broke out at the Adrenalin City shopping and entertainment complex, where the museum is located, Suspilne Lutsk reported. The blaze damaged the last of the painting’s six sections, according to the report.

“By destroying art and culture, they are also trying to destroy Ukrainians,” Tetiana Repnytska, director of the Museum of Contemporary Ukrainian Art in Lutsk, told Suspilne Lutsk.

Museum staff also had to evacuate more than 300 works by Ukrainian artist Emma Andiievska, which were exhibited alongside Cosmogony, Oles Tomakh, the museum’s chief curator, told Suspilne Lutsk. Some works could not be removed in time, resulting in shattered glass. However, the museum’s other exhibition halls were unaffected, the chief curator said.

The museum is weighing whether to fully restore the damaged fragment or keep the fire’s traces as a reminder of the war, and will decide after consulting the artist, Petro Antyp, and restoration specialists, it said. Repnytska told Suspilne Lutsk that the painting’s authors could also create a new section.

“Despite the shelling, we will continue to develop contemporary Ukrainian art and preserve it,” the museum director said.

Cosmogony—Ukraine’s largest painting

Artist Petro Antyp began working on the painting in November 2022, Suspilne Lutsk reported, and it took almost two years to complete, according to the museum’s website. The painting covers an area of 2,086 square meters.

In September 2024, the project set a national record as Ukraine’s largest painting.

The artwork explores the evolution of the universe, Earth, nature, humanity, society, culture, and science. Its six sections combine myths, legends, scientific theories, and symbols from different cultures, according to the museum’s website.

The project extends beyond the canvas, as the museum presents a multimedia performance that combines light, sound, and art.

Civilians killed and injured in Russia’s latest attack on Lutsk

Around noon on 14 October, a Russian jet-powered Shahed drone attacked Lutsk. Drone debris damaged a wholesale goods warehouse and a residential building, Roman Romaniuk, acting head of the Volyn Regional Military Administration, told Suspilne.

Falling drone debris sparked a large fire at the Yevrohurt wholesale warehouse. A nine-story residential building on Sobornosti Avenue was also damaged, Romaniuk later reported on social media.

Six people were killed in the strike on the warehouse: five were found at the scene, and another person died in the hospital. Eleven more people were injured, Romaniuk said.

Two other people, including a child, were injured in the residential building. Twelve people remained hospitalized, one of whom was in serious condition, according to the report.

Petro Antyp's polyptych "Cosmogony," a Ukrainian interpretation of the world's origin, spans thousands of square meters. The museum’s founder, Viktor Korsak, described the damage inflicted upon the panel "The Future" as a "symbolic and at the same time terrifying coincidence."

Greek Prime Minister Kyriakos Mitsotakis has ruled out an agreement requiring Athens to recognise British Museum ownership of the Parthenon Sculptures, using a landmark exchange of cultural objects with Bulgaria to restate Greece’s position.

Greek Prime Minister Kyriakos Mitsotakis has said Greece will not “borrow” the Parthenon Sculptures under an arrangement requiring Athens to recognise British Museum ownership, as Greece and Bulgaria completed an exchange of historic remains and religious artefacts following decades of negotiations.

Mitsotakis made the remarks on Saturday, 3 October, during a ceremony at the Museum of Byzantine Culture in Thessaloniki attended by Bulgarian Prime Minister Rumen Radev.

Under the agreement, Greece transferred to Bulgaria human remains identified as those of medieval Bulgarian ruler Tsar Samuel, together with material recovered from four sarcophagi at the Basilica of Saint Achilleios in the Prespa region.

Bulgaria returned 48 ecclesiastical objects removed from northern Greece during the First World War.

The Greek prime minister’s office said the returned objects include icons, crosses, vestments, reliquaries and an episcopal throne. They were removed in 1917 from religious institutions in the Serres region.

The artefacts will initially be displayed at the Museum of Byzantine Culture before being returned to the monasteries and church authorities from which they originated. The Greek government said the 48 objects will remain on display until 5 November.

The remains handed to Bulgaria were discovered during archaeological excavations at Saint Achilleios in the 1960s and later identified as belonging to Samuel, who ruled the First Bulgarian Empire between 997 and 1014.

Bulgaria organised a state ceremony following their return. The Bulgarian government described the transfer as the return of one of the country’s most significant medieval rulers.

The exchange concludes negotiations stretching back decades, although both governments have agreed to continue discussions about other objects of mutual historical interest.

Mitsotakis used the Thessaloniki ceremony to link the agreement to another, far more prominent dispute over cultural property: the Parthenon Sculptures held in London.

He said cultural diplomacy had demonstrated that disputes over objects removed during earlier periods of conflict could be addressed through negotiation, referring also to previous arrangements involving fragments of the Parthenon returned from Sicily.

The Greek government continues to seek the reunification in Athens of the surviving Parthenon Sculptures.

The central obstacle remains ownership.

The British Museum states that Lord Elgin removed the sculptures between 1801 and 1805 with the permission of the Ottoman authorities then governing Athens. His actions were examined by a parliamentary committee before the collection was acquired for the museum in 1816.

Greece disputes the legitimacy of their removal and argues that surviving elements of the monument should be reunited at the Acropolis Museum.

That difference has direct consequences for any proposal based on loans.

Under the British Museum trustees’ published position, the museum is prepared to consider lending objects from its collection, including the Parthenon Sculptures, but requires a borrowing institution to acknowledge the museum’s ownership.

Successive Greek governments have refused to meet that condition.

Mitsotakis reiterated that position on Saturday, arguing that Greece cannot borrow an object which it considers its own.

The dispute has continued despite negotiations between Athens and the British Museum.

In February, the UK government told Parliament that the chairman of the British Museum remained in discussions with the Greek government over a possible partnership involving reciprocal loans.

The British government has maintained that operational decisions concerning the sculptures belong to the museum’s trustees.

EU Today has followed the dispute for several years. In 2023, then British prime minister Rishi Sunak cancelled a scheduled meeting with Mitsotakis after the Greek leader publicly raised the return of the sculptures.

The dispute subsequently produced an unusual diplomatic argument between two NATO allies, although discussions between Greek representatives and the British Museum continued.

The Greece-Bulgaria agreement concluded on Saturday differs substantially from the Parthenon case in both its legal history and the circumstances under which the objects were removed.

Athens nevertheless sees the exchange as evidence that governments can settle disputes over cultural property without abandoning their respective interpretations of history.

For Bulgaria, the return of Samuel’s remains has considerable national significance. For Greece, the recovery of the ecclesiastical objects resolves a century-old question concerning material removed during the First World War.

The Parthenon Sculptures remain considerably more complicated.

Talks continue, but the fundamental disagreement identified again by Mitsotakis in Thessaloniki has not changed: London considers the sculptures legally owned by the British Museum, while Athens considers them parts of a Greek monument which should be permanently reunited.

As long as that difference remains, a conventional loan arrangement offers no straightforward solution.

Tourism’s contribution to Russia’s gross domestic product exceeded 3 percent in 2025, Russian Deputy Prime Minister Dmitry Chernyshenko stated, as reported by TASS in late September. According to him, tourism is among the fastest-growing sectors of the Russian economy. Chernyshenko attributed these results to measures under the “Tourism and Hospitality” national project, which he said […]