Coffin of Egyptian Pharaoh Ramses II to take centerstage at major Paris exhibition

Workers unveil the coffin of King Ramses II during a ceremony ahead of the opening of the exhibition ‘Ramses et l’or des pharaons’ at the Grande Halle de la Villette in Paris on April 3, 2023. (AFP)
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Updated 04 April 2023
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Coffin of Egyptian Pharaoh Ramses II to take centerstage at major Paris exhibition

  • As part of an exceptional loan to the French, the ornate sarcophagus will be the star attraction among 180 items
  • While the coffin will be on show in the French capital from April 7 until Sept. 6, the king’s mummy will remain in the Egyptian Museum in Cairo

CAIRO: The coffin of one of ancient Egypt’s longest-ruling pharaohs, Ramses II, has been unveiled as the centerpiece of a major exhibition due to open in France.

As part of an exceptional loan to the French, the ornate sarcophagus will be the star attraction among 180 items — some of which have never left Egypt before — on display at the Grande Halle de la Villette in Paris.

Ramses II was the ruler of ancient Egypt between 1276 and 1213 B.C., during which time he established domination over Nubia and built the temple of Abu Simbel.

However, while the coffin will be on show in the French capital from April 7 until Sept. 6, the king’s mummy will remain in the Egyptian Museum in Cairo.

Egypt’s loan of the sarcophagus was made as a gesture of thanks for the work of French scientists in helping preserve Ramses II’s mummy by treating it against fungus when exhibited in Paris in 1976.

Egyptologist Benedicte Lhoyer, the exhibition’s scientific adviser, said: “From a historical point of view, this is a piece of inestimable value. It’s not the mummy but the coffin of Ramses II, a wooden case that has protected it for 2,900 years.

“So, this is a very intimate object and is, in fact, Ramses II’s last resting place.”

French Culture Minister Rima Abdul Malak said: “It is an extraordinary opportunity for children and the public of all ages. It’s completely different to see it in real life rather than seeing it in pictures or on the internet.”

Its latest stay in Paris will offer visitors a rare opportunity to study inscriptions on the sarcophagus’ sides detailing how Ramses II’s body was moved three times from 1070 B.C. after grave robbers raided his tomb.

In addition to the coffin, the exhibition, titled “Ramses the Great and the Gold of the Pharaohs,” will include an array of ancient Egyptian artefacts, including solid gold and silver jewelry, statues, amulets, masks, and other sarcophagi.

Ramses II was the longest-reigning and one of the most famous pharaohs, playing a key role in securing and expanding the Egyptian kingdom, and bringing peace and prosperity.

His cedar coffin was not originally designed for him. Thought to date from the end of the 18th dynasty, it was likely covered with gold and inlayed with gems or glass. Its surface was scraped and painted yellow, with some details enhanced with bright colors and the eyes underlined in black.

Alaa Youssef, Egypt’s ambassador to France, described the sarcophagus exhibit as “exceptional” and a culmination of the “distinguished historical relations” that bound the two countries in various fields.

The envoy said the exhibition would allow “fans of the pharaonic civilization to discover the temple of Abu Simbel and the tomb of (Egyptian queen) Nefertari through a virtual reality show.”

And he urged the people of France to visit Egypt, “to get acquainted with its rich civilization, the comprehensive development process it is witnessing, and its promising future.”

In January, Egypt’s Cabinet approved the transfer of the coffin to France following a request from the head of the Houston Museum of Natural Sciences, which is organizing the exhibition.

State-of-the-art multimedia reproductions will showcase the opulence and beauty of ancient Egyptian civilization and give visitors an insight into the life and accomplishments of Ramses II.

The traveling exhibition is being held in several major cities. It was inaugurated in Houston in November 2021 before moving to San Francisco in August last year.


BMW Art Cars mark 50 years at inaugural Art Basel Qatar

Updated 09 February 2026
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BMW Art Cars mark 50 years at inaugural Art Basel Qatar

DOHA: BMW’s long-running Art Car initiative took center stage at the inaugural Art Basel Qatar, with Thomas Girst, BMW Group’s head of cultural engagement, reflecting on five decades of collaboration between artists, engineers and the automobile.

Speaking at the fair, Girst situated the Art Car program within BMW’s broader cultural engagement, which he said spanned “over 50 years and hundreds of initiatives,” ranging from museums and orchestras to long-term partnerships with major art platforms.

“Every time Art Basel moves — from Miami to Hong Kong to Qatar — we move along with them,” he said. “That’s why we’re here.”

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

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The occasion also marked the 50th anniversary of the BMW Art Car series, which began in 1975 with Alexander Calder’s painted BMW 3.0 CSL. Since then, the project has grown into a global collection that brings together motorsport, engineering, design and contemporary art. “Those Art Cars speak to a lot of people at the intersection of motorsports, technology, racing engineering, arts, lifestyle and design,” Girst said.

For Girst, the relationship between art and the automobile has deep historical roots. He pointed to early modernist fascination with cars, noting that “since the inception of the automobile,” artists have seen it as both a subject and a symbol of modernity. “There’s a reason for arts and culture and cars to mix and mingle,” he said.

At Art Basel Qatar, visitors were invited to view David Hockney’s BMW Art Car — Art Car No. 14 — displayed nearby. Girst described the work as emblematic of the program’s ethos, highlighting how Hockney painted not just the exterior of the vehicle but also visualized its inner life. The result, he suggested, is a car that reflects both movement and perception, turning the act of driving into an artistic experience.

Central to BMW’s approach, Girst stressed, is the principle of absolute artistic freedom. “Whenever we work with artists, it’s so important that they have absolute creative freedom to do whatever it is they want to do,” he said. That freedom, he added, mirrors the conditions BMW’s own engineers and designers need “to come up with the greatest answers of mobility for today and tomorrow.”

The Art Car World Tour, which accompanies the anniversary celebrations, has already traveled to 40 countries, underscoring the project’s global reach. For Girst, however, the enduring value of the initiative lies less in scale than in its spirit of collaboration. Art, design and technology, he said, offer a way to connect across disciplines and borders.

“That’s what makes us human. We can do better things than just bash our heads in — we can create great things together,” he said.