Statistical structure, not random marks

Using computational and statistical modeling, the team analyzed more than 3,000 engraved symbols found on 260 Paleolithic artifacts. Their findings indicate that the sequences of lines, dots, notches and crosses exhibit measurable complexity and information density — properties comparable to proto-cuneiform, widely regarded as the earliest known writing system, which emerged around 3000 BCE in Mesopotamia.

Rather than random ornamentation, the repeated patterns suggest intentional design and structured communication. Bentz described the markings as possessing a distinct “statistical fingerprint,” implying that they functioned as early systems for storing or conveying information.

Evidence from the Swabian Jura

Many of the artifacts examined date back between 34,000 and 45,000 years and were discovered in caves in the Swabian Jura region of southwestern Germany.

At Vogelherd Cave in the Lone Valley, archaeologists uncovered a small mammoth figurine carved from ivory and decorated with rows of crosses and dots.

Another significant artifact, the Lion Man from Hohlenstein-Stadel Cave, features evenly spaced notches along one arm. The regularity of these markings further supports the argument that they carried symbolic or informational meaning.

Implications for the origins of writing

The findings suggest that the cognitive and communicative foundations of writing systems developed tens of thousands of years earlier than previously assumed. While these Paleolithic signs were not “writing” in the strict linguistic sense, their structured nature indicates that early Homo sapiens may already have been experimenting with durable methods of recording information.

“Our research is helping us uncover the unique statistical properties — or statistical fingerprint — of these sign systems, which are an early predecessor to writing,” Bentz said.

The study contributes to a growing body of scholarship proposing that symbolic complexity — a hallmark of modern human cognition — was firmly established deep in prehistory.

A symbol of shared history and modern partnership

At the reopening ceremony, Libyan Culture Minister Mebruke Tugi highlighted the project as a testament to bilateral cooperation. She stated that the theater's restoration is "one of the fruits of the memorandum of understanding we signed with the Turkish Culture and Tourism Ministry and TIKA's efforts." This project underscores Türkiye's active role in cultural preservation abroad, particularly in regions with shared historical ties.

TIKA's role in cultural restoration

Ali Suha Bacanakgil, TIKA's Tripoli coordinator, explained the building's historical significance and its state before the intervention. “Unfortunately, it had become unusable and derelict over the years,” he said. The swift, six-month renovation transformed the space, blending modern functionality with respect for its Ottoman architectural heritage. TIKA's work in Libya is part of Türkiye's broader strategy of fostering international partnerships through development and cultural projects.

Strengthening Türkiye-Libya relations

The reopening is more than a cultural event; it is a diplomatic milestone that strengthens the bond between Türkiye and Libya. By investing in the restoration of shared historical assets, Türkiye reinforces a narrative of enduring connection and constructive partnership in the post-Ottoman space. Such projects enhance Türkiye's soft power and demonstrate its commitment to Libya's stability and cultural revitalization.

Exhibition details and content

Organized in cooperation between the Turkish Ministry of Culture and Tourism and Berlin's Vorderasiatisches Museum, the exhibition will open on February 10 at the James-Simon-Galerie on Museum Island. It will feature 89 original artifacts and four replicas on loan from the Şanlıurfa Museum, with 44 of these works being displayed outside Türkiye for the first time. The exhibition will explore the shift from hunter-gatherer societies to settled agricultural life through architecture, art, sculpture, and early belief systems, using monumental stone pillars, reliefs, and figurines from the sites.

Artistic and cultural significance

Beyond the archaeological finds, the exhibition will include a series of photographs of the Taş Tepeler landscape captured by renowned Spanish photographer Isabel Muñoz. These artistic interpretations aim to provide a contemporary visual dialogue with the ancient sites. The primary goal is to highlight the "cultural and scientific significance" of Göbeklitepe—a site that has radically altered the understanding of early human social organization, suggesting that large-scale temple construction may have preceded the establishment of permanent cities and agriculture.

Broader context of cultural diplomacy

The Berlin exhibition represents a significant step in Türkiye's efforts to promote its vast historical heritage on the global stage. Following a previous successful exhibition at Rome's Colosseum, this event continues a strategy of cultural diplomacy, using world-class archaeology to elevate Türkiye's profile as a cradle of civilization. By situating this narrative in one of Europe's foremost museum complexes, Türkiye underscores the universal importance of its ancient history and its role in shaping early human community, belief, and art. The exhibition is scheduled to remain open to visitors until July 19.

Discovery and Dating of the Ancient Artwork

The faded hand stencil was found in Liang Metanduno cave among dozens of other rock art examples across Muna and neighboring Buton Island. Despite its "poor state of preservation," the artwork clearly shows "a portion of the fingers and the adjoining palm area." Advanced dating techniques applied to mineral deposits confirm its minimum age of 67,800 years, placing its creation deep in the Pleistocene epoch by early modern humans or possibly other hominin species.

Unique Artistic Features and Research Context

Lead researcher Adhi Agus Oktaviana of Indonesia's National Research and Innovation Agency (BRIN), who has studied the island's caves since 2015, noted a distinctive feature: the tip of one finger appears artificially narrowed, either by added pigment or hand movement during application. This style is unique to Sulawesi's cave art. The ancient stencil was partially concealed beneath newer paintings depicting a person riding a horse with a chicken, indicating the site was used for artistic expression across millennia.

Implications for Human History and Migration

This find has profound implications for understanding human cognitive development and migration. It suggests that the capacity for complex symbolic expression, a hallmark of modern human behavior, was present in Southeast Asia tens of thousands of years earlier than previously documented. It also reinforces Indonesia's status as a global hotspot for prehistoric archaeology, offering crucial evidence about the cultural lives of early human populations as they spread across Eurasia.

A significant archaeological discovery has been announced in the historic city of Kayseri in central Türkiye, where the remains of a madrasa dating back approximately nine centuries have been identified. The find sheds new light on the region's rich Islamic scholarly heritage during the early Turkish period in Anatolia.

Discovery during urban renewal works

The ancient structure was unearthed during the Suriçi Camikebir Urban Renewal Project in the city center, specifically in the vicinity of the historic Kebir Mosque and just south of the Melik Mehmed Gazi Tomb. Kayseri Mayor Memduh Büyükkılıç described the find as a "surprise," revealing that workers encountered traces and walls of a madrasa constructed in the tradition of a religious complex adjacent to the tomb.

Historical significance and connection to a founding ruler

The madrasa is linked to the Danishmend dynasty, a major early Turkish-Islamic power in Anatolia. Melik Mehmed Gazi, the dynasty's ruler buried in the adjacent tomb, is considered one of Kayseri's founders, and the mosque he commissioned remains a key landmark. The discovery of the educational institution connected to his legacy provides tangible evidence of the city's role as a center of learning and religion in the 12th century.

Plans for excavation and restoration

Mayor Büyükkılıç stated that the municipality, in cooperation with Türkiye's Ministry of Culture and Tourism, will conduct formal archaeological excavations and restoration work based on existing academic studies and historical documents. "Our aim is to revive this madrasa and bring a historical monument worthy of Kayseri to both our city and our country," he said. For Türkiye, such discoveries are crucial for understanding the deep roots of its civilization and for promoting cultural tourism that highlights the nation's multifaceted historical layers.

A challenging site with significant preservation

Led by the Mardin Museum under the Ministry of Culture and Tourism, the excavation team faces a unique challenge: a 90-minute hike to reach the inaccessible mountaintop site at 955 meters elevation. Mardin Museum Director İdris Akgül describes Rabat Castle as "one of the best-preserved archaeological sites after the ancient city of Dara." The team is carefully documenting well-preserved features, including defensive walls, rock-cut churches, cisterns, and residential dwellings first noted by travelers in the 19th century.

Strategic fortress on ancient trade routes

Historical evidence suggests the castle was constructed in the Late Roman Era as a strategic garrison to protect trade caravans and defend against incursions from the Persian Sasanian Empire. Its commanding position overlooking the Mesopotamian Plain allowed it to guard the vital route between modern Diyarbakır and Şanlıurfa. "The castle served both defensive and commercial purposes," Akgül noted, highlighting its dual role in regional security and economy.

Finds and future aspirations for cultural tourism

Initial finds include ceramic fragments, coins, and arrowheads that help date the castle's continuous use across centuries. The excavation, part of the ministry's "Heritage for the Future" project, aims to restore the site and integrate it into a new cultural tourism route for the region. Local team member Rohan Ateş expressed pride in the work, hoping the castle becomes "a shining star of the region" and is opened for public visitation as the dig progresses.

Record-breaking dinosaur tracks in Bolivia

In Bolivia's Torotoro National Park, scientists documented the highest concentration of dinosaur footprints ever found in a single location. The site, covering over 7,400 square meters, contains 16,600 footprints and 1,378 swimming tracks left by theropods—bipedal, three-toed dinosaurs—between 145 and 66 million years ago. The discovery, published in PLOS ONE, provides unprecedented insight into the behavior and movement of these prehistoric creatures.

Redefining human milestones: Fire, tools, and writing

British researchers announced the discovery of the world's oldest direct evidence of controlled fire-making at a site in Suffolk, England, dating back approximately 400,000 years. In Spain, tools crafted from whale bones 20,000 years ago were uncovered, revealing early human-marine mammal interaction. Meanwhile, excavations at Keeladi in Tamil Nadu, India, unearthed an advanced urban settlement with a unique script, challenging established theories about the origins of writing systems in South Asia.

Surprising insights on ancient life and domestication

Other major finds included evidence that survivors returned to live in the ruins of Pompeii after the catastrophic 79 AD eruption. A genetic study revised the timeline for cat domestication, suggesting it began 3,500–4,000 years ago, later than previously believed. In the realm of natural history, a new species of sharp-toothed whale, Janjucetus dullardi, was identified from a 26-million-year-old fossil in Australia, and the oldest known mummification practice, dating back 14,000 years, was documented in Vietnam.

Career spanning film and theatre

Over several decades, Bakri appeared in more than 40 productions, earning recognition for performances in films such as Wajib, Tale of the Three Jewels and All That’s Left of You. Alongside acting, he became an influential director, using cinema to explore Palestinian identity, history and daily life under occupation in Israel and the occupied West Bank.

Jenin, Jenin and legal controversy

Bakri was best known internationally for his 2002 documentary Jenin, Jenin, which documented Israel’s military operation in the Jenin refugee camp through testimonies of Palestinian survivors. The film triggered intense debate in Israel, resulting in years of legal disputes and a 2021 court ruling that barred its nationwide screening, placing Bakri at the centre of a high-profile freedom of expression debate.

Lasting impact on Palestinian cinema

His directorial works also included 1948, Min Yum Mahrucht, Zahara, Water and Blackness, films that addressed themes of displacement, memory and resistance. Bakri’s death has prompted renewed attention to his cultural legacy and the enduring role of cinema in documenting Palestinian history and lived experience.

From storage to exhibition: a four-year restoration project

The gallery is the result of an extensive restoration and cataloging project initiated by the Directorate of National Palaces. For decades, a significant portion of the palace's vast tile collection—more than 2,000 crates' worth—remained in storage. A specialized workshop established four years ago meticulously documented 800 distinct patterns and produced nearly 9,500 photographs, allowing experts to select and restore pieces for public display.

A walk through Ottoman artistic history

The exhibition is designed as a continuous narrative of artistic development. It begins with the famed 16th-century İznik tiles, celebrated for their vibrant cobalt blues and intricate floral motifs like tulips and carnations. The display then progresses through the transformations of the 17th century and concludes with 18th-century works from Kütahya, which show distinct European influences in their landscapes and figurative scenes.

Topkapi Palace: a living museum and UNESCO site

Topkapi Palace, built in the 1460s by Sultan Mehmed II, served as the primary residence and administrative heart of the Ottoman Empire for nearly 400 years. Today, as a UNESCO World Heritage Site, it is one of Türkiye's most visited museums. The new tile gallery, open daily from 9 a.m. to 5 p.m. (closed Tuesdays), adds a significant new dimension to its collections, which already include imperial treasures, sacred relics, and the famous harem section.

A Diverse Collection Spanning Millennia

The returned artifacts represent a rich cross-section of Anatolian history. The centerpiece is a larger-than-life bronze statue from the Roman-era city of Bubon in southwestern Türkiye. The collection also includes a Roman depiction of the Athenian orator Demosthenes, a marble capital featuring Archangel Michael, and other works from the Urartian and Lydian civilizations. Minister Ersoy stated on the social media platform NSosyal, "As a result of scientific and legal efforts, we have reunited these works, the heritage of these lands, with their homeland."

Coordinated International Legal Effort

The repatriation resulted from close collaboration between Türkiye’s General Directorate of Cultural Heritage and Museums and U.S. agencies, including the Manhattan District Attorney's Office and Homeland Security Investigations. The Ministry highlighted that the process involved meticulous provenance research and legal procedures. In one notable case, Turkish authorities provided testimonies and scientific reports proving an artifact in a private California collection was illegally excavated from Bubon, leading to an arrest warrant and the item's eventual surrender.

A Milestone in Cultural Heritage Recovery

With this latest return, the total number of artifacts recovered from the ancient site of Bubon alone has reached 18, six of which are monumental bronze statues. The Ministry described the event as a new milestone in Türkiye's long-running campaign to reclaim its cultural assets taken abroad. Following necessary conservation and study, the artifacts will be presented to the public, adding to the nation's unparalleled record of its multilayered historical legacy.

A Continuation of Cultural Showcases

Minister Ersoy revealed the plans on the Turkish social media platform NSosyal, stating, “Once again, we are bringing Türkiye’s unique cultural heritage to the heart of Ancient Rome, the Colobeum. Now it’s Troy’s turn.” This upcoming Troy exhibition will follow two prior successful showcases from Türkiye at the historic venue: the 2023 exhibition on Göbeklitepe and the 2024 Magna Mater exhibition.

Agreement Sealed Through Bilateral Talks

The 2026 exhibition was finalized as a direct outcome of high-level cultural talks between Türkiye and Italy. Ersoy noted that a mutual letter of intent was signed on December 11, following discussions held in Rome last September and in Ankara this December. The collaboration underscores the deepening cultural ties between the two Mediterranean nations.

Artifacts and Opera to Highlight Trojan Narrative

According to the ministerial announcement, the Troy-themed exhibition will be curated with selected works from the collections of museums in both countries, with the Troy Museum in Çanakkale playing a leading role. A centerpiece of the event will be the “Troy Opera,” produced by the State Opera and Ballet General Directorate of Türkiye. This performance aims to bring the epic Trojan narrative to international audiences in Rome through the power of performing arts.

Heritage project highlights Anatolia’s past

The finds emerged under the Culture and Tourism Ministry’s “Heritage for the Future: Endless Ephesus” initiative, which aims to expand visitor routes and uncover long-buried structures. Excavations along Stadium Street revealed a marble bathtub believed to have belonged to the Terrace Houses, luxury residences once occupied by wealthy Roman families overlooking the city.

Domestic bathing culture in Roman Ephesus

Project coordinator Serdar Aybek from Dokuz Eylul University said the bathtub dates to the first century AD and reflects the importance of bathing in daily Roman life. “Public bath complexes were widespread in the Roman period, and Ephesus hosts some of the most impressive examples,” he said, referring to the Harbor Baths, which cover nearly 70,000 square meters. “Alongside these public spaces, there were also smaller bathtubs designed for use inside private homes.”

Reuse of artifacts in later periods

Aybek noted that the craftsmanship and material suggest the bathtub belonged to a high-income household and was later reused during repairs in the city’s late period. Archaeologists found that the tub had been converted into a fountain trough, with holes carved into it to redirect water, altering its original form. The same pattern of reuse was seen in another discovery from Stadium Street: a male statue dating from between the first century BC and the first century AD, found face down after serving as paving material. “It was completely unexpected,” Aybek said, adding that the statue had been produced in separate pieces and later assembled, a common technique of the era.

Focus shifts from registration to branding and value

TURKPATENT President Muhammed Zeki Durak emphasized that while the registration numbers reflect Türkiye's rich agricultural and artisanal diversity, the critical next step is building brand recognition and economic value. "What truly matters is increasing the recognition of these products," Durak stated, outlining goals to expand their economic contribution, deliver greater added value to producers, and raise global awareness of Türkiye's unique regional offerings.

Leveraging products for tourism and exports

Durak highlighted the significant role these products play in shaping tourism, as travelers often seek authentic experiences tied to specific regions. To strengthen commercial potential, TURKPATENT, in collaboration with the World Intellectual Property Organization (WIPO), has begun training programs for producers. Farmers of Edremit and Memecik olive oils have already received instruction on intellectual property, e-commerce, and commercialization, with similar training planned next year for Malatya apricot and Giresun hazelnut producers.

A nationwide heritage with untapped global potential

The nationwide distribution of geographical indications represents a substantial untapped economic asset. The effort aims to move beyond domestic recognition, helping producers access international markets through exports and sophisticated branding. This strategy seeks to transform Türkiye's regional culinary and agricultural heritage into a powerful tool for sustainable rural development and international trade.

Artistic details and period analysis

Leading the excavation, Professor Serdar Aybek from Dokuz Eylul University's Department of Archaeology, noted the statue's intricate hair details and portrait features. He emphasized that the seamless joining of two separately carved marble pieces strongly indicates a Hellenistic origin, dating between 323 and 31 BC. Further examination revealed an intentionally carved cavity in the pupil, a technique used in Greek sculpture for later insertion of colorful stones. "The head's size provides important information about Metropolis' sculpture production during the Hellenistic period," Aybek stated, highlighting the artifact's value for understanding local craftsmanship.

A potential match for Hestia

A compelling aspect of the find is its potential link to a previously discovered artifact. Professor Aybek indicated that the newly found head matches, in its dimensions, a Hestia torso excavated earlier from the city's Bouleuterion, or council house. This connection suggests the pieces may once have formed a complete monumental statue of the Greek goddess of the hearth, offering a more complete picture of the city's religious and civic life.

Ongoing excavation and historical context

The excavations at Metropolis, which began systematically in 1989 and have continued under Aybek's direction since 2007, trace human settlement back to the Neolithic era. The current work is supported by the Sabancı Foundation as part of the Turkish Ministry of Culture and Tourism's "Heritage for the Future" Project. This discovery in Izmir Province underscores Türkiye's profound and layered historical heritage, revealing stories from the Hellenistic period that followed the conquests of Alexander the Great and preceded Roman dominance in Anatolia.

Exquisite and unique mosaic artwork

The artistic quality and preservation of the hall's mosaics are particularly notable, with approximately 80% of the surface remaining intact. The designs feature a complex array of motifs, including detailed scenes of peacocks drinking from a fountain, intricate geometric patterns, ribbon designs, and an eight-pointed star. Most remarkably, archaeologists have identified several motifs, including one specific pattern, that have never before been documented in the academic record of Anatolian archaeology. While some human figures are present, they are mostly damaged, leaving scholars to determine whether they represent mythological or religious subjects in future study.

Expanding knowledge of the Black Sea's Roman past

This discovery sheds new light on the importance and sophistication of Hadrianopolis during the late Roman period. The city, named after Emperor Hadrian, served as a significant settlement in the ancient province of Paphlagonia. The presence of such an elaborate palace complex with unique artistic features challenges previous perceptions of the Black Sea region's cultural and political influence during this era. It provides concrete evidence of wealth, high-level craftsmanship, and connectivity to broader Roman artistic traditions, while also showcasing distinct local styles.

Future work and cultural heritage development

Excavation lead Ersin Çelikbaş announced that further archaeological work will continue in 2026 to uncover additional sections of the palace complex. Meanwhile, local authorities are preparing for increased public interest. Eskipazar Mayor Serkan Cıva noted that the site has recently received official status as a protected "ruins" area and that new visitor facilities are being planned to accommodate growing tourist numbers. For Türkiye, a nation deeply proud of its layered history, this discovery not only enriches the global historical record but also reinforces the country's role as a guardian of world heritage and a premier destination for cultural exploration.

Ignored Warnings and Ongoing Vulnerabilities

According to the report, the flooding was not an accident but the result of neglected maintenance. For years, the department had reportedly requested funds from Louvre Deputy Director General Francis Steinbock to relocate collections or install protective measures against aging pipes in suspended ceilings. These requests, along with a proposal to acquire proper storage furniture for rare works and an offer for external moving assistance, were allegedly rejected. Consequently, even undamaged precious volumes remain stored under windows protected only by bubble wrap, vulnerable to future storms.

Context of Recent Security and Financial Moves

The leak compounds a difficult period for the world's most-visited museum. It follows a brazen daytime jewel theft on October 19, where thieves used a stolen truck and a furniture lift to steal historic royal jewels, including pieces from the Napoleonic era. In a separate development, the Louvre announced a 45% ticket price increase for most non-EU visitors in late November, raising the cost to €32. The museum welcomed 8.7 million visitors in 2024, 69% from abroad.

Broader Implications for Cultural Heritage

These successive incidents—theft, infrastructural failure, and sharp price hikes—point to broader challenges in managing a global cultural icon. They spark debates about resource allocation, preventive conservation, and accessibility. For an institution that is a cornerstone of France's cultural patrimony and a major tourist destination, ensuring the physical security and preservation of its collections is paramount to its international standing.

Discovery Context and Preservation

The statue was discovered embedded within the stadium's wall, strategically positioned overlooking the dramatic Ulubey Canyon. This placement within the wall structure ultimately contributed to the artifact's remarkable preservation over centuries. The statue, which lacks its head, arms, and legs, has been carefully transported to the Usak Museum of Archaeology for comprehensive conservation, restoration, and detailed scientific analysis before being prepared for public exhibition.

Artifact Description and Historical Significance

Described by experts as a "beautifully crafted torso," the statue represents a male figure measuring 87 centimeters in height and 47 centimeters in width. Şerif Söyler, the head of the excavations and director of the Usak Museum, provided a preliminary dating for the artifact to the 2nd century CE. He noted that the statue appears to have been repurposed during the Byzantine period, when it was used as filler stone in the stadium's wall—a common practice that inadvertently protected the sculpture from the elements and other destructive forces.

Future Research and Display

Conservation specialists at the Usak Museum have begun the meticulous process of cleaning and stabilizing the ancient sculpture. Museum officials have announced plans for the statue to be publicly displayed following the completion of all necessary scientific analyses and restoration work. This discovery at Blaundos underscores the ongoing importance of archaeological research in Türkiye, where each finding contributes to a deeper understanding of the complex historical layers that define the nation's cultural landscape.

This extensive subterranean network features numerous interconnected chambers, tunnels, and galleries meticulously carved through solid rock formations. The caves represent one of the most significant underground structures in the region, showcasing advanced construction techniques that have puzzled archaeologists and historians alike. Their precise original purpose remains partially shrouded in mystery, though evidence suggests they served multiple functions throughout different historical periods in the Anatolian region.

Tourism and Cultural Heritage

The caves' dramatic geological formations and enigmatic atmosphere have made them an increasingly popular destination for both domestic and international visitors to Türkiye. As part of Türkiye's rich cultural heritage portfolio, the Bazda Caves contribute significantly to the cultural tourism landscape of Şanlıurfa province, which already hosts numerous important historical sites including Göbekli Tepe, considered one of the world's oldest temple complexes.

Conservation and Future Prospects

Inclusion on UNESCO's Tentative List represents a crucial step toward potential full World Heritage status, which would provide additional international recognition and conservation support. Turkish authorities continue to preserve and study the site, balancing archaeological research with responsible tourism development in this historically rich region of southeastern Türkiye.

In a significant acknowledgment of its rich gastronomic heritage, Türkiye has made a remarkable showing in the latest "World's 100 Best Foods" list by the culinary guide and reference site TasteAtlas. Seven distinct dishes from Turkish cuisine were featured prominently in the rankings, which are based on user ratings and reviews of traditional foods from across the globe.

Çökertme Kebab Tops the Turkish List

Leading the charge for Türkiye was Çökertme Kebab, which debuted impressively at number seven on the global list. This specialty, known for its harmonious combination of tender meat, crispy fried potatoes, and a rich yogurt and butter sauce, earned a high score of 4.64. Its inclusion in the top ten has generated significant excitement within the international food community, spotlighting a perhaps less internationally known but deeply cherished Turkish dish.

A Showcase of Regional Diversity

The list served as a testament to the regional diversity within Turkish cuisine. Cağ Kebabı, a horizontal rotisserie kebab from the eastern city of Erzurum, followed closely, ranking 9th worldwide. Not far behind, the iconic Iskender Kebab from Bursa, celebrated for its döner meat served with tomato sauce and yogurt, claimed the 26th position. Other notable entries included the universally popular Lamb Shish (28th), the spicy Adana Kebab (47th), the classic Ottoman dish Hünkar Beğendi (51st), and Islama Meatballs (59th).

Complete Kitchen Discovery

The excavation team uncovered a remarkably preserved kitchen area containing an oven, various pottery vessels, upper and lower grinding stones, small cattle bones, and the carbonized barley grains found both inside and surrounding a broken jar. According to Hanifi Biber, head archaeologist from Yuzuncu Yil University, the discovery provides compelling evidence that the settlement functioned as an important agricultural center during the Bronze Age period.

Stratigraphic Significance and Cultural Context

Researchers have identified eight distinct settlement layers at Iremir Mound, with the principal layers belonging to the Karaz culture, also known as Early Transcaucasia, which extended across Eastern Anatolia and the South Caucasus during the Early Bronze Age. Biber emphasized the importance of finding a kiln and pottery vessels preserved in situ adjacent to a warehouse space's northern wall, noting this represents the oldest known settlement yet discovered in the Van region.

Broader Archaeological Implications

The findings offer crucial information about the historical landscape of the Gurpinar Plain and the areas now beneath Lake Van. Archaeologist Hakan Yilmaz noted that bone evidence indicates extensive small cattle breeding alongside larger livestock, wild goats, red deer, and bears, providing comprehensive insights into pre-Urartian agriculture and animal husbandry practices that characterized early civilizations in eastern Türkiye.

“KÜME is committed to creating alternative solutions inspired by our cultural heritage in response to global crises,” the foundation stated. “Through artistic and intellectual endeavors, we aim to analyze prevailing civilizational paradigms and offer new perspectives. We bring together individuals and groups engaged in thought, art, and discourse, integrating ancient values with a universal vision.”

The foundation also emphasizes the role of digital transformation and technology in harmony with civilizational understanding. Placing public benefit at the core of its mission, KÜME strives to foster societal and cultural transformation while building an alternative future anchored in national values.

Vision and Mission

KÜME aspires to be a leading institution in culture and civilization, supporting the creation of works that blend universal values with local identity and contributing meaningfully to social development. Its mission includes preserving cultural heritage, developing innovative approaches in contemporary thought and the arts, and promoting interdisciplinary collaboration to bring pioneering projects to life.

The foundation also announced opportunities for scholarships and volunteering, inviting interested individuals to engage with its programs and contribute to its vision of a culturally enriched society.

Contemporary Reinterpretation of Classic Ballet

Directed and choreographed by Morgann Runacre Temple and Jessica Wright, with Christopher Hampson serving as artistic director, the production seamlessly blends traditional dance with theater, film, and immersive digital projections. The creative team has transformed the original 19th-century narrative into a modern fairy tale centered around a Silicon Valley tech entrepreneur attempting to instill human emotion into an AI-driven avatar.

Musical Innovation and Technical Elements

The classic Leo Delibes score has been reinterpreted with electronic elements by composers Mikael Karlsson and Michael P. Atkinson, performed live by the Scottish Ballet Orchestra. The staging incorporates sophisticated technical elements including video design by Will Duke, costumes by Annemarie Woods, and voiceovers by Jeff James, creating a multi-sensory theatrical experience that bridges classical and contemporary artistic forms.

Artistic Vision and Cultural Significance

Artistic Director Christopher Hampson described Istanbul as "a modern, cosmopolitan city with outstanding theater venues," making it an ideal location for the production's Turkish premiere. Principal dancers Constance Devernay Laurence and Bruno Micchiardi noted the production preserves the original ballet's spirit while offering distinctive contemporary relevance, with themes that resonate strongly with current technological developments and societal questions about artificial intelligence.

Palestinian Cinema Spotlight

Festival Artistic Director Enes Erbay announced that this year's edition features a special Palestinian selection, including the opening film "Palestine 36" by Annemarie Jacir, which represents Palestine's official submission for the Academy Awards. The dedicated Palestinian program includes four additional films aimed at drawing attention to current events in the region, reflecting the festival's commitment to socially relevant cinema.

Competitive Sections and Educational Programs

The festival hosts competitions across four main categories: National Feature Film, International Feature Film, National Short Film, and International Short Film, with ten films competing in each section. Educational components include masterclasses led by award-winning director Anupam Barve and Palestinian actor Saleh Bakri, along with industry panels discussing international distribution strategies for Turkish cinema.

Special Screenings and Festival Mission

Beyond the competitive sections, the program features special screenings including documentary works about Turkish director Biket Ilhan and artist Bedri Rahmi Eyuboglu, compiled from personal archives. Erbay emphasized the festival's dual mission of providing diverse viewing experiences while creating opportunities for emerging filmmakers to develop their craft and connect with international cinema professionals.

Artistic Warnings for Future Generations

Archaeologists discovered murals and friezes at sites like Vichama that depict famine, death, and eventual renewal—deliberate visual messages intended to warn subsequent generations about climate change dangers. Shady explained that these artistic records served as historical documentation so "people would not forget that the climate change was very severe," including three-dimensional reliefs showing emaciated human figures and symbolic representations of hoped-for rainfall.

Peaceful Social Organization

Excavations at Penico uncovered 18 structures resembling Caral's monumental pyramids and plazas, indicating a highly organized society. Chief archaeologist Mauro Ordonez noted the "absence of objects that leave evidence of violence," suggesting the civilization relied on trade, fishing, and farming rather than warfare. Archaeological evidence reveals extensive trade networks stretching from the Amazon to Ecuador's Pacific coast and indicates gender equality in social roles.

Global Climate Event and Modern Relevance

Researchers believe the drought that affected Caral formed part of the global 4.2-kiloyear climate event that also disrupted ancient civilizations in Mesopotamia and the Indus Valley. Shady, who first discovered the Caral civilization in the 1990s, suggests modern societies could learn from their ancestors' example of maintaining environmental balance and harmony while demonstrating remarkable resilience in the face of climate adversity.

Artifact's History and Theft

The artifact in question is a stone head sculpture dating back to 1479-1425 BC, created during the reign of Pharaoh Thutmose III. According to reports from Dutch broadcaster NOS, it portrays a high-ranking official from that period. The piece is suspected to have been illegally removed from Egypt, most likely amid the political turmoil and security lapses of the 2011 Arab Spring.

Recovery and Upcoming Transfer

The sculpture reemerged in 2022 at The European Fine Art Fair (TEFAF) in Maastricht, the Netherlands. Upon being informed of the artifact's stolen status, the dealer in possession voluntarily relinquished ownership. The formal handover to Egypt's ambassador to the Netherlands is scheduled to occur before the end of the year, though its future display location within Egypt remains undetermined.

A Platform For Untold Stories

Organized with the Palestinian Ministry of Culture, the festival was conceived to give women a voice through cinema. Festival founder Ezzaldeen Shalh stated, "The Gaza International Women’s Film Festival was born amid the genocide faced by women who lost their spouses and families. We wanted to create a platform where women could tell their own stories." The initiative also seeks to educate and encourage Palestinian women to participate in filmmaking and present their work internationally.

Opening with a Powerful Tribute

The festival's opening selection was the Silver Lion Grand Jury Prize-winning film The Voice of Hind Rajab. This film recounts the tragic killing of five-year-old Hind Rajab and her family in Gaza City in January 2024 when their vehicle was struck by Israeli fire. The choice of this film immediately anchored the event in the grim reality of the conflict's human cost.

Context of Loss and National Commemoration

The event coincides with the officially declared Palestinian Women’s National Day. It unfolds against a devastating backdrop, as according to the Gaza Government Media Office, more than 12,500 Palestinian women have been killed in the attacks. The festival thus serves as both a cultural event and a form of memorial, asserting the power of narrative in the face of overwhelming loss.

Agency’s productive participation

Introtema Copyright and Translation Agency played an active role at the event, organizing specialized matchmaking sessions with publishers from China, the Philippines, Italy, and South Korea. Over the course of five days, the agency conducted more than 200 one-on-one meetings with publishers, agencies, and rights representatives from around the world. These meetings laid the groundwork for new projects and reinforced existing collaborations.

Recognition for promoting Turkish literature

A highlight of the fair for Introtema was the award ceremony organized on the 20th anniversary of the Turkish Ministry of Culture and Tourism’s TEDA Program. The agency was presented with a plaque honoring its successful efforts in introducing Turkish literature to international readerships. This recognition underscored Introtema’s long-standing commitment to cultural exchange and its influential role in global publishing.

Global team collaboration

The Frankfurt event also provided an opportunity for Introtema’s team members from its offices in Istanbul, China, Azerbaijan, and Germany to come together. This convergence of colleagues enhanced the agency’s coordinated presence and symbolized its multinational operational strength.

A Feast for the Senses

The undeniable highlight for many visitors was the extensive array of authentic Turkish food. Stalls offering everything from kebabs and borek to baklava and Turkish coffee saw long lines throughout the day, effectively transforming the area into one of the nation's largest open-air Turkish food courts. "Our food section was a primary draw this year, presenting regional Turkish dishes for every palate," Schreffler told Anadolu Agency, underscoring the cuisine's significant role in the festival's appeal.

Celebrating Artistry and Heritage

Beyond the culinary delights, the festival offered a rich program of cultural activities. Attendees enjoyed traditional folk dance performances and Turkish music concerts, with artists from several Turkic republics adding to the diverse lineup. The event, part of Washington’s "Turkish Heritage Month," also featured exhibitions of Ottoman-Turkish handicrafts. Intricately handwoven carpets, traditional garments, and ceramics were among the items that garnered particular admiration from the crowd.

Fostering Cross-Cultural Dialogue

President Schreffler highlighted the festival's core mission of fostering cross-cultural understanding and bringing people together. "Visitors from all races and religions come together here, sharing the same joy and enthusiasm," she stated. According to the organizers, the festival's growing popularity year after year confirms its success as a vibrant and impactful celebration of Türkiye's cultural richness, strengthening its presence in Washington.

A Dynamic Display of Heritage

The festival grounds buzzed with energy as live performances captivated attendees. Traditional folk dances and live Turkish music provided an authentic soundtrack to the day, drawing enthusiastic crowds and offering a glimpse into the nation's artistic soul. The sounds of classic instruments and the sight of colorful performances created an immersive cultural experience for all visitors.

Traditional Crafts and Authentic Cuisine

A series of bustling booths lined the avenue, displaying products deeply rooted in Ottoman and Turkish history. Festival-goers explored exquisite hand-woven Turkish carpets and admired traditional garments. The aroma of authentic Turkish cuisine filled the air, with food stalls serving beloved dishes that allowed Americans and international visitors to taste the flavors of Türkiye.

Strengthening Cultural Ties

The event attracted a significant turnout, including members of the thriving Turkish-American community and countless curious visitors from other backgrounds. The strong interest shown by American attendees highlighted a successful cultural exchange and the soft power of Türkiye. Such festivals play a crucial role in promoting understanding and appreciation for Turkish heritage on an international stage, reinforcing positive connections abroad.

Recent Architectural Discoveries

The excavation team working along the theater's western perimeter revealed well-preserved entrance and exit passages alongside sophisticated marble paving and an ancient drainage network. According to head archaeologist Aygun Ekin Meric, the current excavation season is approaching completion, with the protected site yielding important insights into the theater's complex history and architectural sophistication.

Historical Evolution and Religious Significance

The theater, originally capable of seating approximately 10,000 spectators for gladiator contests and fashion displays during the 2nd and 3rd centuries AD, underwent a remarkable transformation into a religious center. "Especially in the 4th and 5th centuries, the theater entered a phase of religious use," Meric explained, noting the presence of crosses, wreaths, and a fresco depicting the Virgin Mary with infant Jesus among the earliest such examples in Anatolia.

Connection to Early Christian History

The site's religious significance intensified following the First Council of Nicaea in 325 AD, with the theater potentially hosting some sessions attended by nearly 300 clergymen. "While the basilica is generally emphasized, we believe a few of the sessions might have been held in the theater, as Christian frescoes and symbols have been found inside the structure," Meric stated, highlighting Iznik's crucial role in early Christian development.

Architectural Uniqueness and Tourism Impact

The Iznik Roman Theater represents an architectural marvel as the only known structure in Anatolia constructed entirely on flat ground using vaults without slope support. Measuring 102 by 79 meters and standing 24 meters tall, the three-story complex has drawn approximately 90,000 visitors since reopening in March 2024 following restoration work initiated in the 1980s. Future projects aim to restore the eastern and western colonnaded galleries that once hosted various activities and receptions.

Maimuna Bah tells us more.

The Global Treasure Hunt Campaign

As part of the album's rollout, Swift initiated a promotional event inviting her fans to find 12 orange doors placed in various cities around the world. Participants who locate these doors can scan QR codes that reveal short video clips. It is within these digital reveals that observers have identified what they believe to be telltale signs of AI-generated content, sparking the current controversy.

Identifying Alleged AI Anomalies

Sharp-eyed participants and digital experts have pointed to specific irregularities in the videos that suggest AI involvement. These reported glitches include visual artifacts such as a blurry house image within a picture frame, a book with missing letters, and a bartender's finger appearing to merge with an orange napkin. Such imperfections are commonly associated with current AI video generation tools.

Silence from Swift's Camp

Despite the growing speculation and online discussion, Taylor Swift and her representatives have maintained silence regarding the production methods of the promotional content. The absence of an official statement has fueled further debate about the ethical use of AI in entertainment marketing and whether artists should disclose their use of such technology.

Notable Human Statue Discovery

A highlight of this year's campaign was the discovery of a human statue featuring clearly defined head and torso characteristics, unearthed between Enclosures B and D. This find has generated considerable interest within the global archaeological community, coming two years after the uncovering of a life-sized wild boar statue at the same Neolithic site in Türkiye's Şanlıurfa province.

Major Restoration of T-Shaped Pillars

Substantial restoration efforts focused on Enclosure C, home to Göbeklitepe's famous T-shaped pillars. Karul told Anadolu Agency that "we carried out major restoration work, including reinforcing the walls and reassembling and re-erecting several standing pillars" in what he described as one of the largest and most impressive structures under the protective roof.

Ongoing Turkish Archaeological Project

The excavations at Göbeklitepe continue under the coordination of Türkiye's Ministry of Culture and Tourism as part of the Stone Hills Project. First identified in 1963 by researchers from Istanbul and Chicago universities, the site continues to reveal new insights into early human civilization through Türkiye's dedicated archaeological preservation efforts.

From childhood sketches of distant worlds to blockbuster universes, James Cameron’s creative journey takes center stage at The Art of James Cameron exhibition in Istanbul.

The exhibition at the Istanbul Cinema Museum offers a rare opportunity to step inside that journey -- an immersive exploration of the filmmaker’s creative universe.

Spanning six decades of sketches, paintings, storyboards and film artifacts from Cameron’s personal archive, the exhibition traces the creative journey of the Canadian-born filmmaker who transformed childhood drawings of alien creatures and futuristic machines into some of the most influential films of our time.

It presents more than 300 works drawn from Cameron’s personal archive. Paintings, sketches, props, costumes, photographs and pioneering 3D designs converge in a singular experience.

The exhibition does more than showcase a career. It reveals an interconnected vision shaped over decades -- one grounded in the belief that creativity begins with the courage to start where you are.

- From sketchbooks to silver screen

Cameron has often been celebrated for pioneering new filmmaking technologies, but the exhibition reminds visitors that his ideas began with simple tools.

As a boy in Ontario in the 1960s, he filled sketchbooks with scenes inspired by science fiction, Cold War tensions, and the wonders of space exploration. Over time, those drawings grew into visual blueprints for The Terminator, Aliens, Titanic and Avatar.

For Kim Butts, the curator of the exhibition and creative director at the Avatar Alliance Foundation, the aim was to highlight this origin point.

“To really see, to communicate the fact of just starting right where you’re at. And if it’s a pencil and paper, draw, or put your ideas on paper,” she told Anadolu. “It’s a cycle. And so just to keep that cycle going, have people come in and just think, ‘I can do this,’” she added.

- Themes that echo across decades

The Istanbul showcase reveals the continuity of Cameron’s imagination. Ideas born in adolescence reappear throughout his career. Butts said visitors will see how he developed several recurring themes -- from space exploration and exotic creatures to questions of technology and ethics.

One section features the Alien Queen from Aliens, a design inspired by insects and sharks. Another showcases The Terminator sketches, reflecting Cameron’s interest in the human-machine interface.

Titanic is framed as a journey through memory and history, while Avatar emerges as both a technological milestone and an ecological allegory.

Cameron’s personal voice also guides visitors through the exhibition. Butts said that the labels next to each work were shaped directly by the filmmaker.

“What you’ll see in the exhibit are the labels in Jim’s voice, and he’s speaking to what he was doing at the time, what that artwork meant to him,” she said.

- A personal connection

Butts, a documentary filmmaker with a background in design and painting, has worked with Cameron on multiple projects, including Deepsea Challenge (2014), which chronicled his dives to the Mariana Trench.

"So the background that I have is as a builder, as a painter, as a designer, as a filmmaker. So all of the exhibit gives me the space to do all of those things together," she said, emphasizing that curating The Art of James Cameron allowed her to draw on her full skill set.

One of her favorite pieces on display is Cameron’s large Xenogenesis painting, which greets visitors on the third floor.

“That piece of work is so—it is the whole exhibit,” she said. “Basically the way that he works, all of those elements that continue in his films are in that painting.”

- Designed with Istanbul in mind

Presented as part of Türkiye’s Culture Road Festival organized by the Ministry of Culture and Tourism, Butts said she deliberately considered Turkish audiences while adapting the show.

“So, what I was thinking when I was creating the exhibit for the (Istanbul) Cinema Museum was that we needed to inspire artists, as well as filmmakers, as well as teachers, parents,” she said.

“What I love about working with the Turkish people is there’s just a joy, I find, of working. And so I try to communicate that joy through Jim’s work, and just the surprise and the inspiration,” Butts said, stressing that she found a particular energy while working in Türkiye.

- Inspiring the next generation

Beyond showcasing the legacy of a celebrated filmmaker, the exhibition is meant to spark creativity among its visitors.

Butts hopes people leave feeling motivated to create.

“I think they’ll walk out and just see where you can start right where you’re at. Don’t wait for something to happen. Start now,” she said.

“You’ll see where he started with pen and paper and ended with Avatar, and continues to do Avatar. But it’s all about getting your thoughts out, getting them heard, getting them seen,” she said.

The Art of James Cameron is more than a retrospective; it is, as the filmmaker himself has called it, an “autobiography through art.”

In Istanbul, a city with a rich history of inspiring artists, it offers a rare glimpse into the private process of a filmmaker whose work has defined genres and shaped cinema globally.

And as Butts emphasized, it is ultimately about sparking the same curiosity and imagination that drove Cameron himself: “It’s all about the inspiration to inspire other people to do the same.”

The band is expected to meet fans in Ankara on Sept. 26 at the Milyon Performance Hall and in Istanbul on Sept. 27 at Zorlu PSM.

Blind Guardian, formed in Krefeld, Germany in 1984 by Hansi Kursch and Andre Olbrich, has become a major influence in the power metal genre.

The band is known for blending sweeping orchestral elements, strong melodies and dramatic storytelling.

The group, known for the Bard's Song, Skalds and Shadows, often draws from fantasy literature -- authors like J.R.R. Tolkien, Stephen King and Robert Jordan are among their inspirations for lyrics.

Their latest album, “The God Machine,” promises to deliver a performance rich in theatricality and musical intensity.

Türkiye’s Deputy Culture and Tourism Minister Gokhan Yazgi told Anadolu that the ministry is carrying out simultaneous projects to promote Gobeklitepe both in Türkiye and abroad.

He recalled that last year, the exhibition Gobeklitepe: The Enigma of a Sacred Place was held at the Colosseum in Rome, attracting over 6 million visitors.

Yazgi said that this time Gobeklitepe will be introduced in Berlin under the title Myths on Stone: Gobeklitepe and the World of the Last Hunters.

- Türkiye steps up Neolithic heritage promotion

“The Tas Tepeler (The Stone Hills) Project is one of a kind in the world. With this project, Gobeklitepe has secured a unique place in global tourism literature and the field of archaeology. So far this year, we have welcomed over 500,000 visitors, and the numbers continue to grow,” Yazgi said.

The ministry is preparing a special selection to highlight Gobeklitepe’s role in the Neolithic era and its place in world archaeology, with Yazgi stressing: “We will do our best to promote the Tas Tepeler (The Stone Hills) Project globally and secure the recognition our country and city deserve in tourism.”

He underlined that the Berlin exhibition marks the latest step in promoting the site globally, noting that the ministry will launch a major project on Museum Island to showcase Gobeklitepe, with similar promotional events planned in other countries.

“We are working intensively to make this cultural treasure, which enriches Türkiye’s cultural tourism, better known across the globe,” he said.

- Special selection to be displayed

Highlighting Germany’s central position in Europe, Yazgi said the exhibition would reach a wide audience of archaeology enthusiasts.

The display will include replicas of three artifacts from Gobeklitepe, multilingual excerpts from films shown at the Gobeklitepe Visitor Center, along with various digital works and information panels.

The exhibition is scheduled to open in February 2026 and will remain on display for six months, Yazgi added.

The event was graced by Ambassador of Pakistan to Turkiye Dr. Yousaf Junaid and Deputy Governor Istanbul Mehmet Sulun. The ceremony was attended by Deputy Mayor Fatih Hasan Durhat, Provincial Director of National Education Dr. Murat Mucahit Yentur, officials from the Istanbul Governorship, Pakistan Consulate, representatives of the Turkish Ministry of Education, students, teachers, and media representatives.

In his remarks, Ambassador Dr. Yousaf Junaid underscored the exemplary fraternal relations between Pakistan and Türkiye, grounded in shared values, common aspirations, and mutual respect. He noted that this year’s theme aptly reflected the spirit of the enduring partnership, symbolizing the unity and solidarity that have long characterized bilateral ties.

Commending the participating students for their outstanding creativity , Ambassador Junaid emphasized that art serves as a powerful medium to connect hearts, transcend borders, and further strengthen people-to-people linkages between the two brotherly nations.

In his address, Deputy Governor Mehmet Sulun reaffirmed the profound historical, cultural, and fraternal bonds between Pakistan and Turkiye. He underscored that advancing cultural understanding and fostering youth engagement remain essential pillars in further consolidating the exemplary brotherly relations between the two countries .

The first prize was awarded to Ms.Elif Zuheyla Ataysen of Tuzla Mehmet Tekirap Anadolu Lisesi, Ms. Zeynep Akcan from Sehit Yuzbasi Yusuf Kenan MTL and Ms. Elda Yildan from Goksel Baktagir GSL secured the second and third positions respectively.

Ms. Sara AlMuhammad Ali from Bahattin Yildiz Anadolu Lisesi , Ms. Zehra Asya Keskin from Catalca Fen Lisesi and Ms. Sirda Al Muntaha from Aurach Bahattin Yildiz Anadolu Lisesi were awarded Honorable Mentions.

Named after the legendary Pakistani artist Abdul Rahman Chughtai, the Chughtai Art Awards have been organized annually by the Embassy of Pakistan in Türkiye since 2011. The competition aims to promote cultural exchange and artistic expression among high school students across Türkiye. Over the years, the competition has been successfully held in Ankara, Konya, Bursa, Bitlis, Adana, Izmir, and now Istanbul.

- Installations include holographic sunflowers, interactive puzzles and digital coloring activities inspired by Van Gogh’s paintings

- Van Gogh: Chasing the Light captures a broader cultural shift in Istanbul, where digital technology is redefining how art is displayed, felt and remembered

The yellow glow of sunflowers, the deep blue of starry skies, and Vincent van Gogh’s restless brushstrokes now surround visitors in Istanbul, inviting them to step inside the painter’s world rather than merely observe it.

Van Gogh: Chasing the Light, a sweeping digital exhibition at the Istanbul Metropolitan Municipality’s Digital Experience Center, brings the Dutch painter’s world to life through immersive technology, transforming his story into a multisensory journey of color, sound and emotion.

Instead of traditional framed paintings, digital environments filled with shifting light, music and motion take visitors into the imagination of one of history’s most beloved artists.

Van Gogh, born in 1853 in the Netherlands, produced more than 2,000 artworks in just over a decade. Despite struggling with mental illness and poverty, he persevered and his work – though largely unrecognized during his lifetime – has had a profound influence on modern art.

- From pigments to pixels

The exhibition opens in the Digital Room, where visitors explore Van Gogh’s life through his letters, biographical panels and interactive displays. His development as an artist unfolds chronologically – from early sketches and struggles to the luminous works of his final period.

Installations include holographic sunflowers, interactive puzzles and digital coloring activities inspired by his paintings.

The journey continues with a virtual reality experience (VR) based on the artist’s final palette, lent to him by his friend Paul Gachet.

Developed for the Orsay Museum in Paris, this immersive VR is being shown in Türkiye for the first time.

Through the headset, golden fields glow and sunflowers rise high, giving the feeling of stepping directly into Van Gogh’s paintings. Accompanied by Franz Liszt’s piano transcriptions of Wagner operas – the artist’s favorite music – the experience becomes a symphony of color and sound.

The exhibition’s centerpiece, Van Gogh: An Immersive Journey, is a nearly 15-minute experience projected onto vast digital screens.

Viewers are taken through four chapters: the artist’s inner world, his pursuit of light in southern France, his stay at the Saint-Remy hospital – where he painted scenes from his window while undergoing psychiatric care – and a final segment where artificial intelligence analyzes over 2,000 of his works to generate new digital art in his style.

Another highlight is a touch-responsive installation in which iconic scenes such as The Starry Night and Wheatfield with Crows shift from calm to stormy as viewers interact with them, mirroring Van Gogh’s emotional states.

- A cultural shift

Van Gogh: Chasing the Light captures a broader cultural shift in Istanbul, where digital technology is redefining not just how art is displayed, but how it is felt and remembered.

The Digital Experience Center is at the forefront of this shift as Türkiye’s first full-scale facility of its kind. Situated along the historic Golden Horn, the center is quickly becoming a symbol of the city’s evolving identity, fusing tradition with technological innovation.

In March, the center hosted From Tradition to Future: Digital Reflections of Cultural Memory, a multi-room exhibition that reimagined traditional Turkish arts using AI, VR, AR and interactive projection.

Last year, the center also presented Beyond Time: Nikola Tesla, a nearly 10-minute virtual reality journey exploring Tesla’s life, inventions and inner world, starting on the stormy night of his birth.

At its heart, the Van Gogh exhibition underscores the artist’s belief that painting is not about copying reality but expressing feeling. Through layered sound, responsive surfaces and dynamic light projections, his emotions are rendered visible, tangible and interactive.

In 1882, Van Gogh wrote to his brother Theo, “I want to get to the point where people say of my work: that man feels deeply, that man feels subtly.”

Today, this exhibition brings that vision to life in ways the artist himself could scarcely have imagined.

“Marble, bone, and clay idols dating back 4,500 years were unearthed,” Ersoy said on the Turkish social media platform NSosyal.

He said that the seven human-shaped idols found side by side around the hearth shed light on the religious rituals of the period, and the unfinished ceramics help us understand the production processes.

“The excavations, which are still being conducted in limited areas, offer unique clues about the religious, cultural, and economic life of the Bronze Age,” he added.

Ersoy also extended his gratitude to the teams from the General Directorate of Cultural Heritage and Museums, as well as to the scientists involved in the excavations.

According to a statement from the ministry, the excavations are expected to continue until mid-December, with further findings anticipated to provide deeper insight into the Bronze Age.

“The most important thing is never to let your courage be broken. When opportunities come, you must be ready,” she told Anadolu in an interview.

Born in Istanbul, Aydingoz began piano lessons at age four and later studied at Berklee College of Music in Boston. After graduating, she interned at Hans Zimmer’s studio in Los Angeles and went on to work on projects for Disney and Pixar, including two North American tours of the movie Coco.

Her career reached a new milestone with a Grammy nomination for her cello arrangement of The Rolling Stones’ Paint It Black, featured in Netflix’s hit series Wednesday.

She later returned for season two, writing the melody for Nevermore Academy’s school anthem.

“Most people know my version of Paint It Black. For season two, the lyrics were written on top of my melody,” she said. “It was surreal to hear Catherine Zeta-Jones sing it, because years ago at Berklee I studied Chicago, the musical she starred in.”

In addition to composing, Aydingoz regularly conducts orchestras in North America, Europe, and Asia.

She compares conducting to flying: “With conducting, I don’t make the sound myself, I guide it. It feels like flying.”

Her work often incorporates Turkish rhythms such as 7/8 and 9/8. In the US, she serves on the board of the Turkish American Orchestra, where she has premiered original pieces influenced by Anatolian music.

Her compositions have been performed in venues, including Carnegie Hall in New York and the Auditorium Stravinski in Switzerland.

Recently, she conducted The Lion King live-to-picture in Istanbul as part of Disney’s global anniversary celebrations, with more concerts planned in Türkiye in 2025.

Looking ahead, she cites John Williams as her role model. “He’s 93 and still writing new works. That’s incredible,” she said. “Sometimes you have to say yes to things you’ve never done before—and then prove yourself. That’s how you grow.”

Following the devastating earthquakes in 2023, walls were damaged, Francesca Balossi Restelli, head of the excavation team, told Anadolu, adding: “We had no choice but to carry out restoration work.”

She said they laid stone foundations last year and that this year, sections of the wall are being restored with new mudbricks, using traditional techniques that match the original construction.

Restelli also explained the excavation work at the site, saying it began about three weeks ago and is still ongoing in the mound's northern, western, and southern sections.

She noted that the team is currently working in the layers dating back to the Late Hittite period in the northern section, adding: "We are excavating a large public building dated to around 1000 B.C." The structure has thick mudbrick walls covered in white plaster and is remarkably well preserved, she said.

She said excavations have reached over a meter deep inside a well-preserved Late Hittite building but have yet to reach the floor, with clean soil and few pottery finds indicating the structure was deliberately filled in during that period, a significant but not yet fully understood discovery.

In the western area, she said, excavations are focusing on layers from the Late Chalcolithic 2 period. “We are reaching some of the earliest layers of Arslantepe here. We are currently uncovering small mudbrick houses with courtyards, typically two-roomed structures. There is a large amount of pottery in this area.”

Restelli also noted that excavations in the southern part of the mound are targeting layers from the Early Bronze Age.

She said that they have uncovered houses and various artifacts, including a hearth, and that, despite some damage caused by the layers being close to the surface, ceramics and other materials help date the findings to around 1800 B.C.

- ‘Capital in the Late Hittite period’

Emphasizing the historical significance of Arslantepe, Restelli said that in the Late Hittite period, the site served as a capital.

“The king of Melid resided here, and as in other Hittite cities, they built a city wall around the area housing the king and administrators. The gate of this wall faced directly north, toward the Euphrates River, as the kingdom’s border lay in that direction,” she said.

She added that the red mudbrick fortification walls, discovered in previous excavation seasons, also date back to the Late Hittite period and formed part of the city’s outer defenses.

The return of a Roman-era statue of Emperor Marcus Aurelius to Türkiye marks the end of a 65-year campaign to retrieve the artifact looted from the ancient city of Boubon in southwestern Anatolia.

The operation, carried out in cooperation with the Manhattan District Attorney’s Office and US Homeland Security investigations, is seen as a milestone in Türkiye’s efforts to combat cultural property trafficking.

"This was one of the hardest cases we’ve ever dealt with," said Zeynep Boz, head of the Department for Combating Illicit Trafficking of Cultural Property. "The return claim was initiated by Prof. Dr. Jale Inan, Türkiye’s first female archaeologist. It’s an honor to attribute this return to her legacy."

Boz said art repatriation cases often take decades due to legal and evidentiary challenges and that many market countries treat antiquities as investment tools, unlike Türkiye, which views them as part of its cultural identity.

"These objects are not just about ownership; they’re often used in money laundering or to finance terrorism," Boz said. "Repatriating them means not only restoring heritage, but also disrupting global criminal networks."

- 'Cinderella moment'

The collaboration with US authorities began in 2017 when Assistant District Attorney Matthew Bogdanos contacted Boz about the Kibele statue. Although that case was resolved diplomatically, it laid the foundation for a years-long partnership based on mutual trust, she said.

That cooperation culminated in the Boubon investigation, which confirmed the origins of dozens of looted Roman statues, including Marcus Aurelius, through eyewitness testimonies and 3D scanning.

“There was a Cinderella moment,” Boz recalled. “The Manhattan DA’s team was measuring the foot of a statue in New York while we were simultaneously measuring the pedestal in Boubon. The fit was millimeter-perfect.”

Witnesses now in their 80s were persuaded to testify after initial mistrust. Key evidence also came from the late journalist Ozgen Acar, who provided a criminal’s handwritten confession journal detailing the looting.

The statue had been held at the Cleveland Museum of Art before negotiations led to its return.

“When the silicone mold of Marcus’s foot fit perfectly on the original pedestal, that was the moment all efforts were validated,” Boz said.

- Rebuttal to 'colonist ideas'

Addressing criticism that returned artifacts might have been better protected abroad, Boz pushed back against what she called "colonist ideas."

She pointed out that the argument of guardianship often masks the original act of theft.

“Nobody says that ‘I stole it.’ Instead, they say, ‘Hey, I'm the guardian of it,’” she said.

Emphasizing Türkiye’s heritage stewardship, she added: “If we were not good at protection, would you really be able to go to ancient sites during your summer holiday? Or find a museum to visit?”

While she acknowledged the need for constant improvement in prevention efforts, Boz stressed that Türkiye’s current level of preservation “is not that humble.”

With the nearly 2,000-year-old statue at the center, the exhibition was inaugurated by Turkish President Recep Tayyip Erdogan at the Presidential Complex.

Artifacts unearthed during excavations carried out as part of the "Heritage for the Future Project," launched by the Ministry of Culture and Tourism in 2023, along with artifacts repatriated from abroad and those seized domestically by law enforcement, are being brought together at the Nation's Library in the Presidential Complex.

The statue of famed Roman Emperor Marcus Aurelius, dated to the second or third century AD, is being displayed along with five statue heads returned to the country from the US and Denmark.

The statue had been trafficked out of Türkiye in the 1960s and later entered the collection of the Cleveland Museum of Art in Ohio. Depicting the emperor as a philosopher, it is considered one of Anatolia’s finest examples of bronze sculpture.

Following efforts by Türkiye’s Culture and Tourism Ministry, in cooperation with the Manhattan District Attorney’s Office and US Homeland Security Investigations, the statue was formally returned in April during a ceremony held at the museum.

The return marks one of Türkiye’s highest-profile recoveries of cultural heritage in recent years.

- Hundreds of artifacts from Karahantepe to Ottoman Empire

“The Golden Age of Archaeology” exhibition, featuring artifacts from 90 excavation sites spanning from east to west and north to south of Türkiye, almost all of which are being exhibited for the first time, also includes artifacts from the zero point of history.

Archaeology aficionados will embark on a journey stretching back to 12,000 years BC in the exhibition. Of the 570 artifacts on display at the Nation’s Library in the Presidential Complex, 485 are being exhibited for the first time.

Located at the entrance of the exhibition, a Phrygian-era pot on display for the first time draws attention with the covering still intact on top of it. The fact that it has survived to the present day with such a well-preserved covering holds great significance for archaeological excavations in Anatolia.

The Neolithic Age vessels unearthed in Karahantepe, which are considered the discovery of the century, are presented in the Stone Hills section of the exhibition as a three-dimensional representation of a mythological tale.

A helmet from the Urartian period and a fully intact Eastern Roman iron soldier’s armor are among the most striking pieces in the exhibition.

Artifacts consisting of bronze statue fragments, which were melted down in antiquity for the production of goods and coins, are featured in the section titled “Extraordinary Finds from a Recycling Workshop in Metropolis.”

Among the artifacts on display are a coin from the reign of Murad I, the first coin discovered in Anatolian Seljuk and Ottoman excavations that does not bear the name of the ruler’s father, and a figurative bowl that stands out with its decorations.

The exhibition emphasizes not only the repatriation of smuggled artifacts from abroad but also the importance of preserving heritage without removing it from its land of origin. In this context, a newly discovered female statue, recovered by law enforcement, stands out in the section dedicated to the theme “No Escape.”

In a special section of the Golden Age of Archaeology exhibition, artifacts recovered from underwater were displayed for visitors to enjoy.

A copper ingot retrieved by Minister of Culture and Tourism Mehmet Nuri Ersoy himself, who dove nearly 40 meters deep off the coast of Adrasan, along with glass wrecks, is also on display.

The series chronicles the founding and rise of the Gokturk State, the first known Turkish empire to bear the name “Turk” in written history.

The first chapter, titled "Prologue," depicts the establishment of the state; the second delves into a darker chapter known as the Kursat Revolt; and the final episode depicts the empire's final era, Alper Caglar, director of the series, told Anadolu.

Caglar explained that the production involved extensive preparation, including the construction of a 50-meter-wide gladiator arena in the Turkish city of Kayseri—the largest ever built in Türkiye—designed by renowned production designer Sonja Klaus, known for her work on Prometheus and Gladiator.

-Actors from every Turkic state

“Turks united to reject subjugation,” Caglar told Anadolu. “Though fiercely independent, they came together under a centralized authority for their freedom.”

He added that the Gokturk State controlled the Silk Road and held one of the largest empires in history, stretching from the Pacific Ocean to the Caspian Sea and beyond.

Casting for the series also includes actors from all Turkic republics and regions, reflecting the shared cultural heritage.

Deniz Sasmaz Oflaz, Warner Bros. Discovery's vice president of local original productions and streaming operations for Türkiye, told The Hollywood Reporter in April that the show is "our biggest period drama and one of the first series that relates to Turkish history—the story of the Turks."

She described it as a Western-style storytelling akin to Kingdom of Heaven and The Lord of the Rings, adding that it has potential for multiple seasons and spin-offs like Game of Thrones.

Caglar noted the series focuses on realism, using fewer mythological elements than typical fantasy productions, and that all costumes and materials were sourced from Türkiye.

He pointed out that, while history frequently remembers Turks as great conquerors, this series focuses on a small, dispersed Turkic population of about 200,000 around 550 AD, surrounded by vast empires such as China, Iran, and Rome.Caglar explained that their journey, like that of underdog heroes in Star Wars and The Lord of the Rings, is intended to inspire audiences.

The term “Turk” first appears in written records from this era, where they called themselves the Turkic Khaganate. The name “Gokturk” was adopted later, beginning in the Ottoman period, he added.

Established on the order of Mustafa Kemal Ataturk on Aug. 19, 1929, the 1.08 million square meter (11.6 million square feet) arboretum was designed by renowned French architect Henri Prost, with landscaping by chief gardener Pandelli Roketas.

Thanks to Ataturk’s vision and love for nature, the arboretum still stands today as a peaceful and green space.

It is operated under the authority of the Health Ministry’s Thermal Springs Administration and continues to welcome visitors in its 96th year with the same beauty and spirit it had when it was first founded.

Built in a region that served as a healing center during the Byzantine, Ottoman, and Republican periods, the arboretum includes tree species such as Atlas cedar, Japanese maple, windmill palm, yew, and paulownia.

The on-site greenhouses also allow for the cultivation of saplings.

– ‘A living laboratory of trees from across the globe’

Mehmed Burhan Topsogut, director of the ministry’s Thermal Springs Administration, told Anadolu that the facility is located within a designated conservation forest and offers a unique natural experience.

According to historical sources, the area was once covered with Mediterranean scrubland. Topsogut said tree planting began after Ataturk’s 1929 visit to the region.

“Ataturk sent letters to foreign ambassadors requesting saplings,” he said. “In response, ambassadors sent trees native to their countries.”

“Using those saplings, Ataturk ordered the establishment of Türkiye’s first arboretum,” he said, adding: “Those trees planted back then are now nearly 100 years old.”

“Today, many forestry students come here on technical visits and are able to see tree species from around the world,” he stated.

“From the US to China, from Argentina to Albania, this place is like a living laboratory of global trees.”

Topsogut also noted that rare species found in Türkiye can be observed at the arboretum.

– ‘Ataturk’s favorite hydrangeas spread from Termal to rest of Türkiye’

Vasfiye Balci, the landscape architect responsible for the care and propagation of rare species in the arboretum’s greenhouses, said she was amazed by the diversity of trees when she first visited as a student.

Now working at a place she first came to visit as a student, Balci said: “There are 66 species here. Each one is pruned and maintained at specific times.”

“The hydrangeas, which were Atatürk’s favorite, spread throughout Türkiye starting from Termal,” she said, adding: “There is a tree known as a ‘western plane’ here that is nearly 320 years old. Also, the eastern plane located inside the Cinar Cafe is almost 270 years old.”

She added that the team uses natural methods whenever possible to care for the arboretum’s diverse species.

Mehmet Nuri Ersoy, the Turkish culture and tourism minister, lauded the announcement on Tuesday, describing it as “a proud moment” that underscores Türkiye’s growing prominence in global gastronomy.

“Cappadocia, which brings Central Anatolia’s ancient culinary heritage into the present day, has joined Istanbul, Izmir and Mugla in the Michelin Guide 2026 selection,” Ersoy said on social media. “This achievement once again highlights Türkiye’s progress in culinary tourism.”

According to a Culture and Tourism Ministry statement, Gwendal Poullennec, international director of the Michelin Guides, said the region left a lasting impression on inspectors due to its cultural and culinary diversity.

“Cappadocia’s culinary tradition is deeply connected to its landscape,” he said. “Chefs here make local ingredients and farming practices a central part of their craft. We want to give travelers one more reason to visit: to experience Cappadocia’s remarkable food culture.”

Cappadocia, a historic region in central Türkiye and a UNESCO World Heritage site, is famed for its fairy chimneys, rock-carved homes and churches, and sunrise hot-air balloon rides. It also boasts a rich culinary scene, featuring tandoor-cooked meats, clay pot stews, fermented flavors, and regional mezes.

The Michelin Guide’s inaugural selection of restaurants in Cappadocia will be revealed at a ceremony on Dec. 4 at the Four Seasons Hotel Bosphorus in Istanbul, alongside selections for Istanbul, Izmir – along the Turkish Aegean – and Mugla, a coastal region in southwestern Türkiye.

Known as the world's oldest temple and dubbed the “zero point of history,” Gobeklitepe is located in the central Haliliye district of Sanliurfa, approximately 18 kilometers (11 miles) from the city center near the rural Orencik neighborhood.

The site was first identified during surface surveys in 1963, and the most concrete evidence emerged in 1986 when a farmer discovered a statue while plowing his field.

Official excavations began in 1995 under the auspices of the Culture and Tourism Ministry's Directorate General of Cultural Heritage and Museums. Archaeologists have found T-shaped obelisks from the Neolithic era towering three to six meters (10-20 feet) high and weighing 40-60 tons.

With the discovery of these ancient marvels, Gobeklitepe rose swiftly in prominence, being added to UNESCO's Tentative List in 2011 and earning its official World Heritage status in 2018.

Months after UNESCO named it a World Heritage site, Gobeklitepe was officially opened to tourists in 2019, which Turkish President Recep Tayyip Erdogan named the "Year of Gobeklitepe" to celebrate its legacy.

Despite setbacks caused by the COVID-19 pandemic and the 2023 earthquake and flood disasters, Gobeklitepe welcomed 3,645,023 visitors from 2019 to the first half of 2025.

Annual figures include 412,378 visitors in 2019, 197,912 in 2020, 567,453 in 2021, 837,811 in 2022, 512,164 in 2023, 731,794 in 2024, and 385,511 in the first half of 2025.

- Gobeklitepe featured on every tour without exception

Aydin Aslan, the provincial culture and tourism chief, told Anadolu that Gobeklitepe is becoming a more popular destination worldwide.

He highlighted that Gobeklitepe's UNESCO World Heritage status has made it the primary source of tourism in the region.

He pointed out that every tour to Sanliurfa includes a visit to Gobeklitepe, emphasizing its importance as a driving force for both regional and national cultural tourism in the years ahead.

Aslan also recalled the Culture and Tourism Ministry's branding efforts, including the “Gobeklitepe: The Enigma of a Sacred Place” exhibition held at the Colosseum in Rome.

Emphasizing the importance of international promotion, he said: “The six-month exhibition attracted six million visitors and had an immediate impact. Many who saw the exhibit at the Colosseum have since traveled to the region to experience Gobeklitepe firsthand.”

Ahmet Yazdag, who traveled from Australia to see the site, also expressed his enthusiasm, saying: “I work at a hospital in Australia, and even there, many doctors are eager to visit Gobeklitepe. I hope they come here soon. Sanliurfa is definitely a destination worth visiting.”

The tablets contain economic, administrative and religious content dating back to the Third Dynasty of Ur and Old Akkadian and Old Babylonian periods.

A handover ceremony for the artifacts was held at the Republic Museum in the Turkish capital Ankara with the participation of Deputy Minister of Culture and Tourism Gokhan Yazgi and Iraq's Ambassador to Türkiye Majid Abdulreda Hassan Al-Lachmawi.

In his speech at the ceremony, Yazgi said that Türkiye continues to show the same sensitivity towards the historical and cultural values ​​of other nations as it does towards its cultural heritage.

"The contents of the tablets, the writing styles and the terminology used are directly related to the centers in southern Iraq.

“These tablets are unique documents in terms of scientific and cultural aspects, providing a wide range of information from daily transactions to priest lists and valuables records," he added.

Yazgi said Türkiye acts in full compliance with UNESCO's 1970 Convention and UN Security Council resolutions 1483 and 2199, adding that "fighting against the illegal circulation of cultural assets is only possible with the joint will and cooperation of the international community, not only with national legislation.

"Today's return is more than a well-intentioned gesture, it is a reflection of international law and cultural responsibility. In this context, the number of cultural assets returned by Türkiye to Iraq has reached 97, with four artifacts in 2010, 81 artifacts in 2019, six artifacts in 2022, and six tablets in 2025."

Yazgi also expressed a wish that the return of the tablets would further strengthen the cultural cooperation between Türkiye and Iraq.

Lachmawi thanked Türkiye for its cooperation and support for the successful return of the artifacts.

Describing their return as a gesture, he highlighted that this reflects the two countries' common determination to protect cultural heritage and combat illegal historical artifact smuggling.

The return of the artifacts is not only a contribution to Iraq's historical heritage but also a sign of the spirit of friendship and mutual respect that continues to develop bilateral relations, he added.

Emphasizing that they look forward to continuing their cooperation with Ankara in areas of common interest, Lachmawi emphasized that they find Türkiye's efforts to protect and recover Iraq's cultural heritage valuable.

The artifacts contain economic, administrative and religious content.

One of the tablets was found to be from the period of the Third Dynasty of Ur, dated to the 22nd to 21st centuries BC and written in the Sumerian alphabet. It was determined that the tablet contained a list of mostly priestly names and that the writing style and terms used pointed to southern Iraqi centers such as Umma.

Another tablet lists sheep and goat species in the writing system of the old Akkadian period dated to the 24th to 23rd centuries BC and records the payments made for these animals. The text in question is considered an example of an economic document.

Another tablet, arranged for daily transactions, dates back to the years when King Ibbi-Sin of the Third Dynasty of Ur ruled (21st century BC). The writing style and content are similar to typical administrative documents of the period.

The analysis and historical classification of the artifacts were carried out by Prof. Selim Ferruh Adali.

Citing the UNWTO's 2025 World Tourism Barometer data, which showed the top five countries for tourism are France, Spain, the US, Türkiye, and Italy, Mehmet Nuri Ersoy said Türkiye continued its steady rise in the tourism field.

The total number of visitors to Türkiye in 2024 reached 62.3 million, including Turkish citizens living abroad, he said.

Ersoy said this significant achievement is the result of effectively promoting Türkiye's historical heritage and cultural richness, a strong infrastructure, and tourism diversity spanning all four seasons.

He stressed: “Türkiye is no longer just a country to be observed but a model to be followed in the tourism sector.”

The findings were made over the past two days in excavations at a castle in the ancient city of Becin in Mugla, southwestern Türkiye, Kadir Pektas, a professor of Turkish and Islamic art, told Anadolu.

“These are Turkish-era arrowheads. Finding them in military structures is expected,” said Pektas, who is leading the dig at Becin, a settlement on the UNESCO World Heritage Tentative List site.

“What makes these discoveries significant is the evidence that no human activity occurred here after their last use, which is highly valuable for Anatolian Turkish archaeology,” he added.

He said excavation and restoration efforts, carried out year round under the authority of the Turkish Culture and Tourism Ministry, are continuing at full speed.

Becin was once the capital of the 13th century Menteshe Beylik, or principality, one of the frontier principalities established by the Oghuz Turks.

The city holds layers of history, including previous discoveries of graves from the Chalcolithic period, indicating uninterrupted settlement for around 5,000 years.

Pektas added that further excavation will continue around the castle's grave and bath areas, with more arrowheads expected to be found.

He also highlighted ongoing work at the so-called “Persian Tower,” where objects dating back to the sixth century BC have been unearthed.

“These finds provide valuable insights into the archaeological history of Becin and its surroundings,” he said.

Einaudi is set to perform at Volkswagen Arena on Sept. 27, as part of an event organized by Stagepass. Tickets will go on sale on June 16.

Known for blending classical traditions with minimalism, electronic music and contemporary styles, Einaudi draws inspiration from nature and is celebrated for his distinctive sound.

His compositions – including Divenire, Nuvole Bianche, Una Mattina and Experience – have become widely recognized, particularly through their use in film and television.

Einaudi has also composed scores for television and cinema, including the award-winning films Nomadland and The Third Murder.

Hosted at the Presidential Symphony Orchestra (CSO) Ada Ankara concert hall, the exhibition features award-winning works by 29 photographers selected from this year's contest.

The exhibition offers a compelling visual narrative of key global events, including Israel's ongoing attacks on Gaza, devastating floods in East Africa, the volcanic eruption in Iceland and athletes preparing for the Paris 2024 Olympics.

It also covers powerful images depicting the struggles of Afghan women, survivors from Sednaya Prison, Brazilian surfers against towering waves, and the dangerous journeys of migrants.

The exhibition will be available from June 10 to July 20, 2025.

İstanbul Photo Awards, organized by Anadolu for its 11th consecutive year, awarded 29 photographers across 10 categories. The selections were made from approximately 22,000 submissions from around the world, a testament to the contest's growing prestige, which has attracted entries from more than 20,000 photographers globally since its inception.

This year's İstanbul Photo Awards contest is supported by Turkcell as the communication sponsor, the Turkish Cooperation and Coordination Agency (TIKA) as the overseas event sponsor, and Turkish Airlines as the airline sponsor.

More information on the winning photographs and jury members can be found at istanbulphotoawards.com.

The event reimagined the classic British afternoon tea experience by replacing English tea and cakes with Turkish tea, baklava and Turkish delight.

Inside the refurbished double-decker bus, guests were served traditional Turkish refreshments in tulip-shaped glasses and copper serving dishes accompanied by live oud music as they toured the city.

The initiative coincided with the opening of Hafiz Mustafa's branch in Knightsbridge and a 3,500-square-meter production facility in North London.

The company, founded in Istanbul in 1864, is best known for its Ottoman-era desserts and has recently expanded internationally in response to growing interest in Turkish sweets.

Staff onboard the bus wore custom Hafiz Mustafa uniforms, and passengers were taken past major landmarks including Big Ben and Piccadilly Circus.

In addition to tea and pastries, guests were offered rose water and fresh pistachios during the ride.

The event attracted both locals and tourists and was initially intended as a one-time promotional activity. However, the company has indicated that interest from customers may lead to future tours.

Hafiz Mustafa is currently building a 45,000-square-meter factory in Istanbul and preparing to open branches on Oxford Street in London and at Souk Madinat in Dubai.

The company's recipes have been passed down through generations, and its latest expansion marks a continued effort to bring Turkish confectionery to a wider global audience.