Priceless Napoleonic jewels were stolen in a brazen daylight heist on Sunday (19/October) at the Louvre in Paris. The world’s most-visited museum, home to the Mona Lisa, was shut down for a second day on Monday as police pursued suspects. This high-profile theft has once again sparked controversy over inadequate security at French museums.
It’s one of the art world’s most beloved institutions, drawing millions of visitors a year to Amsterdam. But recently, the Van Gogh Museum sent shockwaves through the cultural community with a startling announcement: it could be forced to close if it doesn’t receive urgent funding. The museum’s director has warned that without financial support from the Dutch government, necessary maintenance on its aging building—crucial for protecting the priceless collection—cannot be completed. This isn’t just a local issue; it’s a powerful illustration of the financial fragility facing even the most iconic museums, forcing them to re-evaluate their survival in a new economic landscape.
The Van Gogh Museum’s financial struggles are more complex than simply a lack of visitors or revenue. While it generates a significant amount of revenue on its own, its current financial crisis is rooted in a fundamental dispute with the Dutch government over a long-standing agreement and the high costs of essential infrastructure maintenance.
Here’s a breakdown of the in-depth issues:
1. The Root Cause: A Decades-Old Agreement The core of the problem stems from a 1962 agreement between the Dutch government and Vincent van Gogh’s nephew, who was the owner of the artist’s immense collection. In exchange for transferring ownership of hundreds of paintings, drawings, and letters to a foundation, the government committed to building and maintaining a museum to permanently house and display the works. The museum’s director argues that the government is now failing to honor its part of this “historic agreement.”
2. The High Cost of Maintenance The museum building, which opened in 1973, is over 50 years old and was not designed to accommodate the millions of visitors it now receives annually. After decades of heavy use, its infrastructure is in a critical state. The museum is not asking for funds to build a flashy new wing or expand its collection. The money is needed for “basic maintenance”—urgent repairs to its technical installations like air conditioning, fire safety systems, elevators, and even the sewage facilities. These are not “sexy” projects, but they are absolutely vital to ensure the safety of both the priceless collection and the visitors.
3. The Financial Shortfall The museum has a major renovation plan, known as “Masterplan 2028,” with a total estimated cost of over €100 million. The museum itself is remarkably successful, generating a stunning 85% of its own income, primarily through ticket sales, its museum shop, and a cafe. However, it relies on a government subsidy for the remaining portion. The museum calculates it needs a guaranteed annual contribution of about €11 million from the state to fund the renovations and save for future maintenance. The Dutch Ministry of Education, Culture, and Science, however, is only willing to provide a subsidy of around €8.5 million, a fixed amount it says is corrected annually for inflation and is based on a methodology used for all national museums. This leaves an annual shortfall of several million euros that the museum says it cannot cover.
4. A Legal and Political Standoff The dispute is not a simple miscommunication; it has escalated into a legal and political battle. The Van Gogh Museum has filed a legal complaint against the state, accusing it of breaching the original 1962 agreement. The Dutch government, for its part, maintains that the museum already receives one of the highest subsidies per square meter among all Dutch museums and should be able to cover the costs with its substantial self-generated income. This impasse has left the museum with no other option than to publicly warn of a potential closure to draw attention to the urgency of its situation.
5. Impact of the Pandemic and Visitor Numbers While the museum’s income is high, the COVID-19 pandemic and subsequent closures highlighted the fragility of a business model heavily dependent on international tourism. Furthermore, even with its high visitor numbers, the museum’s success has become a double-edged sword. The sheer volume of foot traffic has accelerated the wear and tear on the building, making the necessary maintenance even more critical and expensive.
While the art market grapples with a contraction at the top end (as recently reported by Artnet), museums are facing their own unique challenges. The traditional business model, heavily reliant on a combination of public funding, ticket sales, and in-person donations, has been stretched to its limit. With rising operational costs and volatile funding, institutions must now embrace new strategies to secure their future. For the Van Gogh Museum and others like it, the path forward is clear: diversify or perish.
The solution lies in leveraging the very tools that have reshaped the commercial art market: technology and global outreach. Museums must evolve from being physical destinations to being worldwide cultural hubs. By developing robust digital strategies, they can unlock new revenue streams and engage with a global audience far beyond their physical walls.
The art market is going through a “reset,” as the latest Artnet Intelligence Report points out, with a shift from trophy collecting to a more democratized base. Museums can ride this wave by making their treasures accessible and engaging to everyone, not just those who can afford a plane ticket to Amsterdam. The potential closure of the Van Gogh Museum is a stark reminder of the urgent need for change. By embracing innovation and diversifying their revenue, museums can not only survive but truly flourish, taking the world’s most treasured collections to a global stage.
Step into a hushed gallery today, and you might sense a different kind of tension. It’s not just the quiet contemplation of the art; it’s the buzz of a market in flux. Whispers of a “crisis” are everywhere, but the real story is far more nuanced—it’s a dramatic re-balancing act driven by new money, new values, and a much-needed reality check. Forget the headlines about a market crash. The art world isn’t collapsing; it’s getting a radical makeover, and here’s what’s really happening.
The Billionaire Brakes: When Blockbusters Go Bust
For years, the art market was defined by jaw-dropping, multi-million-dollar auction sales that made headlines and set records. But those days are on pause. For the second consecutive year, global art sales are in a slump, and it’s the high-end that’s feeling the pain most acutely. The number of works selling for over $10 million has plummeted. Why? The world’s wealthiest collectors are hitting the brakes. With economic uncertainty and geopolitical storms on the horizon, high-net-worth individuals are holding onto their masterpieces, opting out of the public spectacle and risk of an auction that might not meet their expectations.
The Great Escape: From Auction House Hype to Private Deals
So, if the high-end is slowing down, where’s all the action? It’s gone private. Collectors and sellers are flocking to private sales, seeking discretion, flexibility, and control over their assets. Major auction houses like Christie’s and Sotheby’s are pivoting, too, reporting a significant surge in their private transactions. It’s the art world equivalent of taking your business to a members-only club—away from the public eye and the potential embarrassment of a low bid. The art is still changing hands, just not on a televised stage.
A New, Broader Base: Art for the Many, Not Just the Few
Here’s the plot twist: while the top of the market is contracting, the rest is thriving. The total number of art transactions is actually on the rise! This is the most exciting and democratic trend in the market today. It means more people are buying art, but they’re doing so at more accessible price points—think mid-tier works and pieces from emerging artists in smaller galleries. This shift is quietly building a broader, more resilient foundation for the entire industry, proving that art’s value isn’t just measured in zeros.
The Millennial Mindset: From Trophy Assets to Passion Projects
The biggest disruptor of all? The next generation of collectors. As the “Great Wealth Transfer” gets into full swing, Millennials and Gen Z are bringing a completely different set of values to the table. They’re less interested in buying a famous name as a status symbol and more focused on art that speaks to their personal values. They want pieces that address social commentary, sustainability, and gender. This new guard is digitally savvy and not afraid to buy online, signaling a massive cultural shift that will shape the market for decades to come.
Here is why we see in Muzea a high potential for art galleries to drive sales by expanding their reach beyond physical store, besides our Saas enables galleries to acquire leads, understand visitors interest and much more data that can empower sales and marketing efforts. To know more reach out to us at partnerships@muzea.io
Technology’s Role: Beyond the NFT Hype
Remember the speculative frenzy of the NFT boom? That may have cooled, but technology’s impact is here to stay. Online art sales have settled at a higher level than before the pandemic, making digital platforms a permanent fixture. And while the flashy headlines have faded, the underlying technology of blockchain is being quietly embraced for its real power: to provide rock-solid provenance and authentication. It’s less about a new type of art and more about a new way to ensure trust in the art you’re buying.
The Elephant in the Room: Global Headwinds
Of course, the art market doesn’t exist in a vacuum. It’s a barometer of global health. Economic uncertainty, stubborn inflation, and political instability have put everyone on edge. This “wait-and-see” attitude is a key reason for the current market caution. Adding to the complexity are new trade tariffs that threaten to complicate the free flow of art across borders.
So, is the art market in trouble? Not at all. It’s in the midst of a massive, overdue reset. The focus is shifting from a speculative, top-heavy game to a broader, more values-driven industry. It’s not a market collapse—it’s an evolution, and it’s making the art world a more fascinating and accessible place to be.
We have been working in stealth mode the new version of the app. Not yet launched this new version but we are giving here a quick look into what’s coming. Keep reading to stay tuned.
After a lot of thought and discussion, we’re excited to announce a new chapter for our project. We’re changing our name from HYR Travel to MUZEA. This wasn’t a decision we made lightly. We took a deep look at who we are, who our audience is, and what we truly want to offer.
Our original name, HYR Travel, was a simple play on “here you can travel.” But as we grew, we realized it didn’t fully capture our unique focus. While the travel industry is vast and exciting, we’ve always been passionate about something specific: cultural travel.
That’s why we chose MUZEA. It’s a nod to the museum-going experience and even means “of the museum” in Polish. The name also has a feminine quality that resonates with our primary audience—people with a sensitivity to art and a deep interest in culture, whether it’s found in gardens, palaces, museums, books, or cinema.
Ultimately, MUZEA better reflects our vision. We’re not just about traveling; we’re about traveling to museums and cultural sites. We believe that this kind of journey is a powerful way to broaden our minds and deepen our understanding of the rich legacy of human history.
The world of travel is evolving, and so are we. We’re well aware of challenges like overtourism, where an influx of visitors can damage historical sites and disrupt the daily lives of local communities. The “overtourism” phenomenon has also led to measures like tourist limits and high fees, which can hurt both visitors and locals.
This is why we want to be part of the solution. We believe that true change starts with us—with a shift in our behaviors and consumption patterns. We’re passionate about preserving local identity and avoiding a one-size-fits-all approach to tourism that prioritizes profit over people. We believe that a more balanced, respectful approach to travel is not only possible but necessary.
So, what does this all mean for you? MUZEA is a cultural app designed to help you discover the world in a more meaningful way. It’s for those who want to:
MUZEA is a platform for a new kind of explorer—one who seeks knowledge, connection, and a deeper appreciation for the world around us. We’re excited to have you on this journey with us.
Download the new MUZEA app today and stay tuned for our upcoming campaigns!
Mauritshuis in The Hague says guarantees would be needed of artworks’ safety amid uncertainty caused by US funding cuts
A leading museum in the Netherlands has said it is reconsidering lending works from its collection to museums in the US amid the uncertainty wreaked by Donald Trump’s funding cuts and ideological impositions.
Martine Gosselink, the director of the Mauritshuis museum in The Hague, whose collection includes Vermeer’s Girl With a Pearl Earring and Rembrandt’s The Anatomy Lesson of Dr Nicolaes Tulp, said the turmoil had left her team wary of lending pieces to the US.
She said the Mauritshuis had for years worked in tandem with art historians and curators across the Atlantic in a constant conversation involving loans of artwork and research collaborations.
However, in recent months, as the Trump administration sought to cut funding and target exhibits it viewed as “improper, divisive or anti-American ideology”, politicians had started increasingly to creep into these conversations.
US-based colleagues had expressed fears of losing their jobs or having to toe the government line, she said. “We really feel for our colleagues in American institutions about what’s happening in archives, libraries and museums,” said Gosselink. “It’s a huge catastrophe.”
In March, Trump issued an executive order targeting the Smithsonian in Washington DC, accusing the world’s biggest museum, education and research complex of presenting “divisive narratives that distort our shared history”.
His administration has also sought to cut funding to leading agencies that support US museums and other arts initiatives.
Gosselink declined to name names but said plans had been in the works to lend pieces to specific institutions in the US.
“I’m not saying we won’t do it,” she said. “But we will be extra careful and we need guarantees. Because if you lend it out to a museum and there’s not enough staff to treat it in the way you want [it] to be treated, then we wonder whether it’s a good thing to be sending our collection.”
Earlier this month, a federal judge temporarily blocked the Trump administration from further dismantling one of the agencies that provides funding to US libraries and museums in a move the American Alliance of Museums described as “the successful first step in what is expected to be a lengthy legal process”.
But the threat of funding cuts continued to loom, with the National Museum of African American History and Culture in Washington DC coming under direct attack from the Trump administration.
The uncertainty needed to be taken into account, said Gosselink. “How do you know for sure that the museum will still be open and working and operating during the whole period of the loan?”
She said the Mauritshuis museum had not yet made any concrete decisions. “For us, it’s not a huge thing if a piece cannot travel for a couple of years,” she said.
Instead, she lamented the far-reaching shock waves of funding cuts in the US.
“But scientifically, you would like to discuss, to write books together, to do research together. I do wonder, of course, if these things will proceed in the way we did in the last decades,” she said.
Summer time has arrived, beach, hot temperatures, all top notch things, but despite just relaxation mood, we are taking a look onto Web Summit Lisbon 2025. Check how has been since 2024 till now the top moments and what have surprised us!
Great news for anyone who missed the initial deadline! The PLAY(THE)GROUND program is now accepting rolling applications for its summer residency until all spots are filled. If you’re an artist, researcher, educator, or cultural practitioner looking for a unique opportunity to develop a project while engaging with vibrant communities, this is your chance!
This multidisciplinary residency offers dedicated space, focused time, and stimulating conversations designed to help kick-start or advance projects rooted in one of Lisbon’s diverse peripheral locations. Applicants can choose to work in Talude, Quinta da Fonte, Bairro do Zambujal, or Quinta do Mocho, and decide on the duration of their residency during the summer of 2025.
This year’s theme, “Friendship & Collaboration,” draws inspiration from the everyday acts of care and solidarity that define these communities. From neighbors helping to build homes to welcoming newcomers, collaboration is deeply embedded in the heritage and daily life of these neighborhoods. Some communities choose to build together, while others learn to coexist through differences. In every instance, these places vividly demonstrate how “joining hands” sustains life and how collective practices foster belonging, trust, and creativity.
PLAY(THE)GROUND welcomes individuals from a wide array of disciplines to participate in a co-creation process, fostering dialogue with local youth and the broader community. The residency provides valuable resources, including studio spaces, local mediation, and mentoring. There’s also the possibility to apply for financial support.
PLAY(THE)GROUND is organized by mais uno +1, a curatorial, project, and research collective dedicated to harnessing the transformative power of art. They achieve this by cultivating incremental relationships and ecosystems among artists, communities, and territories.
What does mais uno +1 do?
Currently, the collective operates a dynamic project space at Picoas metro station. This space is open to any artist who wishes to create and present projects such as exhibitions, workshops, performances, pop-up art fairs, seminars, and more. Beyond their project space, mais uno +1 is actively organizing art residencies in various locations, including the exciting PLAY(THE)GROUND program.
Want to be part of their work?
If you’re looking to contribute to innovative projects, explore their OPEN CALLS for exciting opportunities.
Who is mais uno +1?
mais uno +1 is an organic, open, and horizontal collective. They began brainstorming in 2021 and officially established their work in 2022. They are always open to new members and are actively seeking a multidisciplinary team aligned with their manifesto.
With the project’s official kick-off happening next week, the organizers are keen to finalize participants soon. Ideally, applications should be submitted by the end of this week, but if you apply later and there’s still a spot available, it might still be possible to join.
This is a fantastic opportunity to immerse yourself in a collaborative environment and contribute to meaningful projects within Lisbon’s dynamic peripheral neighborhoods.
PLAY(THE)GROUND is made possible through partnerships with AMRT, CooperActiva Alfragide (@cooperactiva1), Associação de Moradores a Partilha, ICS ULisboa, NOVA FCSH, and Afrolink (@afrolink.pt). Support is provided by CMLoures, Muro Atelier (@muro.atelier), and Lisbon Drawing Club (@lisbondrawingclub).
Follow @enez_louane for more updates!
Facebook Marketplace is typically used as a hub for thrifters to discover hidden gems that are now up for resale. But in Syria, some Facebook Marketplace users may find some unexpected items alongside old furniture and knickknacks: artifacts that may have been looted.
Thieves are reportedly robbing graves that are more than 2,000 years old in Palmyra, among other cities, and listing the funerary gold and artifacts they take on Facebook.
Located in the Fertile Crescent, where some of the first known civilizations began, Palmyra was an ancient city along the Silk Road—a trading route at the crossroads of Europe and Asia—dating back to the 3rd century BCE. The city, known for its Roman ruins, is a UNESCO World Heritage site. It contains countless invaluable artifacts such as statues and mosaics. In 2015, Palmyra was heavily damaged by militants who blew up some of these ancient sites while they were under Islamic State control.
Looting and trafficking there have reportedly surged following the overthrow of former Syrian president Bashar al-Assad by rebels in December. The looting, along with widespread poverty affecting 90 percent of Syria’s population, puts the country’s cultural heritage in danger of being lost and destroyed by those looking for a quick buck.
“When the [Assad] regime fell, we saw a huge spike on the ground. It was a complete breakdown of any constraints that might have existed in the regime periods that controlled looting,” Amr al-Azm, a professor of Middle East history and anthropology at Shawnee State University in Ohio and co-director of the Antiquities Trafficking and Heritage Anthropology Research (ATHAR) Project, told the Guardian.
ATHAR, which follows trafficked Middle Eastern antiquities in the black market online, noted that nearly one third of its total 1,500 Syrian cases took place in December. The project includes a database of more than 26,000 screenshots, videos, and images of looted antiquities since 2012.
While its not unusual for trafficked goods to end up for sale online, the emergence of Facebook Marketplace as a hub for these kinds of sales is relatively new. Despite Facebook banning the sale of historical artifacts on its platform in 2020, the policy is not enforced strictly enough to deter looters from risking these transactions among sizable groups ranging from 100,000 to 900,000 people.
Experts have also noticed an increased speed in sales of trafficked goods. “This is the fastest we’ve ever seen artefacts being sold. Before for example, a mosaic being sold out of Raqqa took a year. Now, mosaics are being sold in two weeks,” Katie Paul, a co-director of the ATHAR project and the director of Tech Transparency Project, explained to the Guardian.
The Syrian government has tried to stop thieves by threatening jail sentences of up to 15 years and finder’s fees for those who turn in the artifacts. But with limited resources available to protect archaeological heritage, the government’s efforts have been more focused on trying to rebuild following the recent political fracture.
The Mona Lisa at the Louvre.
Beginning January 1, 2026, major French museums—including the Louvre and the Château de Versailles—will charge non-European Union visitors €30 (about $35), up from €22 ($25), according to Le Monde.
The new pricing, described as a “differential tariff,” marks a sharp turn in France’s long-professed commitment to universal access to culture. It’s also triggered a domino effect: the policy will soon be tested at other top tourist destinations, including the Arc de Triomphe or the Conciergerie (both managed by the National Monuments Center), the Château de Chambord in the Loire Valley, and Paris’s Opéra Garnier. More institutions are expected to adopt the model in 2027.
The goal is to plug financial holes left by cultural budget cuts, waning corporate sponsorships, and rising restoration costs.
At Versailles, where 42 percent of the site’s 8 million annual visitors come from outside Europe, administrators are eyeing these funds as a lifeline. The funds might go toward mending cracked pools, neglected groves, or leaking rooftops. At Chambord, where non-EU tourists account for just 10 percent of admissions, officials are nonetheless considering raising prices from €19 to €29—because the chateau needs “€100 million for renovations over 10 years, including €25 million for the François I wing, which we can’t fund with our current revenue.”
Meanwhile, the Louvre itself is facing a staggering €400 million ($450 million) in repair needs over the next 15 years. According to a leaked letter from director Laurence des Cars, published by Le Parisien, much of the building is no longer watertight and suffers from erratic climate conditions that jeopardize the collection. President Emmanuel Macron has pledged a sweeping restoration, but insiders say the government is unlikely to foot the full bill. The €30 ticket is expected to raise €20 million per year toward those renovations.
Still, not everyone in the museum world is applauding. “Think about what this symbolizes,” said one Louvre curator, speaking anonymously to Le Monde. “Can you imagine charging an Iraqi more than a Belgian to see the Code of Hammurabi, which comes from Iraq? Charging Africans extra so they can view, at the Pavillon des Sessions, objects that their countries might one day ask to have restituted?”
The pricing strategy is legally limited to visitors from non-EU countries, since European Commission rules guarantee equal access to cultural institutions for EU citizens.
The policy has drawn backlash from French unions as well. Valérie Baud, a representative from the CFDT union at the Louvre, criticized the timing of the price hike, calling the move “discriminatory” and arguing it undermines the core values of France’s public cultural service: universality, equality, and openness.
Supporters of the policy, however, argue that a form of tiered access already exists: students under 26 from the EU are entitled to free entry, while their non-European counterparts must pay full price.
A Culture Ministry source shrugged off the worry, telling Le Monde that “tourists who have come from afar won’t hesitate to pay any price to step back in time with Marie-Antoinette, take a selfie with the Mona Lisa, or enjoy panoramic views of Paris from the Arc de Triomphe.”
