Researchers say DNA can replace hard drives to help store the world’s ever-increasing digital output. Matt Dibble has the story
Для тих працюючих пенсіонерів, пенсії яких виплачуються у мінімальному розмірі, додаткові перерахунки будуть проведені з 1 липня
Ukraine’s Kalush Orchestra, which won the Eurovision this year, has auctioned its trophy for a $900,000 donation to a foundation that helps the Ukrainian army.
The trophy — a large crystal microphone with the song contest’s logo — was put up for auction on Facebook.
The bidding ended Saturday night and was won by WhiteBIT, a Ukrainian bitcoin company.
“You guys are amazing!” Kalush Orchestra wrote on Facebook late Sunday announcing the winner.
“Special thanks to the WhiteBIT team who bought the trophy for $900,000 and are now the rightful owners.”
The band said that funds raised in auction, which could be entered using cryptocurrencies, will be donated to the Prytula Foundation, which helps the Ukrainian army.
The group Kalush Orchestra won the European contest on May 14 with its song “Stefania” mixing hip-hop and traditional music.
Russia, which invaded Ukraine on February 24, was excluded from the competition.
Much-anticipated action film “Top Gun: Maverick” was expected to have a big opening and it did not disappoint, taking in an estimated $151 million in North America for the four-day Memorial Day weekend, industry watcher Exhibitor Relations reported.
Viewers had to wait 36 years to see the sequel to the original “Top Gun,” but critics say the Paramount/Skydance production was worth the wait, with some calling it superior to the original film.
“The source material remains strong, the execution is excellent, and Tom Cruise makes it work impeccably well,” said analyst David A. Gross of Franchise Entertainment Research.
The film — whose release had been delayed two years by the COVID-19 pandemic — notched $124 million for the first three days of the holiday weekend and took in the same amount overseas, despite not playing in China or Russia. It was Cruise’s first opening to top $100 million.
He again plays cocky (if grayer) navy test pilot Pete “Maverick” Mitchell, now a captain, as he trains to bomb a rogue nation’s uranium enrichment facility. A strong supporting cast includes Ed Harris, Jennifer Connelly, Miles Teller and Jon Hamm; original “Top Gun” veteran Val (Iceman) Kilmer appears briefly.
Slipping a notch to second place was “Doctor Strange in the Multiverse of Madness,” which in its fourth weekend took in $16.4 million for the Friday-through-Sunday period and $21.1 million for the full four days.
The Disney film, starring Benedict Cumberbatch, had opened to a year’s best $187 million.
In third spot was 20th Century’s new “Bob’s Burgers Movie.” The animated film, based on a popular television show, earned $12.6 million for three days and $15 million for four.
Focus Features’ “Downton Abbey: A New Era” took fourth place, with $5.9 million for three days and $7.5 million for four. Based on the hugely popular British series, it again stars Maggie Smith, Hugh Bonneville, Elizabeth McGovern and Michelle Dockery.
And in fifth was Universal’s family-friendly animation “The Bad Guys,” at $4.6 million for three days and $6.1 million for four.
Rounding out the top 10 were:
“Sonic the Hedgehog 2” ($2.5 million for three days; $3.1 million for four)
“Everything Everywhere All at Once” ($2.5 million; $3.1 million)
“The Lost City” ($1.8 million; $2.3 million)
“Men” ($1.2 million; $1.5 million)
“Fantastic Beasts: The Secrets of Dumbledore” ($905,000; $1.1 million)your ad here
Indian police are investigating the murder of a popular Punjabi rapper who blended hip-hop, rap and folk music, a day after he was fatally shot, officials said Monday.
Shubhdeep Singh Sidhu, also known around the world by his stage name Sidhu Moose Wala, was killed Sunday evening while driving his car in Mansa, a district in northern India’s Punjab state. Moose Wala, 28, was rushed to the hospital where he was declared dead.
Punjab state’s top police official VK Bhawra said the initial investigation has revealed the killing to be an inter-gang rivalry.
A day before the attack, the Punjab government had pulled security cover for over 400 individuals, including Moose Wala, in a bid to clamp down on VIP culture, local media reports said.
Moose Wala started off as a songwriter before a hit song in 2017 catapulted his singing career, making him well known among the Indian and Punjabi diaspora in countries like the United Kingdom and Canada.
Most of his singles have an English title even though the songs were mainly sung in Punjabi. His glossy music videos were most famous for his rap lyrics and often focused on macho culture. His debut album in 2018 made it to Canada’s Billboard Albums chart.
Moose Wala was a controversial figure, in part due to his lyrical style. In 2020, police charged him under India’s Arms Act for allegedly promoting gun culture in one of his songs.
His latest track, “The Last Ride,” was released earlier this month.
The rapper joined India’s Congress Party last year and unsuccessfully ran in the state’s assembly elections.
Punjab’s chief minister Bhagwant Mann said, “no culprit will be spared” and that he was deeply shocked and saddened by the murder.
Rahul Gandhi, a senior Congress leader, took to Twitter to express his condolences over the killing.
“Deeply shocked and saddened by the murder of promising Congress leader and talented artist,” he said.
The Mona Lisa was left shaken but unharmed on Sunday when a visitor to the Louvre tried to smash the glass protecting the world’s most famous painting before smearing cream across its surface in an apparent climate-related publicity stunt.
The perpetrator was a young man disguised as an old lady who jumped out of a wheelchair before attacking the glass.
“Maybe this is just nuts to me…,” posted the author of a video of the incident’s aftermath that shows a Louvre staffer cleaning the glass. “(He) then proceeds to smear cake on the glass, and throws roses everywhere before being tackled by security.”
The Louvre was not immediately available for comment.
Another video posted on social media showed the same staffer finishing cleaning the pane while another attendant removes a wheelchair from in front of the Da Vinci masterpiece.
“Think of the earth, people are destroying the earth”, the man, dressed in a wig, said in French in another video posting that showed him being led away from the Paris gallery with the wheelchair, indicating that the incident likely had an environmentalist motive.
Forget breaking the sound barrier: Tom Cruise just soared past a major career milestone.
The 59-year-old superstar just got his first $100 million opening weekend with “Top Gun: Maverick.” In its first three days in North American theaters, the long-in-the-works sequel earned an estimated $124 million in ticket sales, Paramount Pictures said Sunday. Including international showings — its worldwide total is $248 million.
It’s a supersonic start for a film that still has the wide-open skies of Memorial Day itself to rake in even more cash. According to projections and estimates, by Monday’s close, “Top Gun: Maverick” will likely have over $150 million.
“These results are ridiculously, over-the-top fantastic,” said Chris Aronson, Paramount’s president of domestic distribution. “I’m happy for everyone. I’m happy for the company, for Tom, for the filmmakers.”
Though undeniably one of the biggest stars in the world — perhaps even “the last movie star,” according to various headlines — Cruise is not known for massive blockbuster openings.
Before “Maverick,” his biggest domestic debut was in 2005, with Steven Spielberg’s “War of the Worlds,” which opened to $64 million. After that it was “Mission: Impossible — Fallout” with $61 million in 2018. It’s not that his films don’t make money in the long run: They just aren’t enormously frontloaded.
“Top Gun: Maverick” had an extremely long journey to get to the theaters. The sequel to the late Tony Scott’s “Top Gun,” which was released in 1986, was originally slated to open in the summer of 2020. Its marketing campaign technically started back in July 2019. The pandemic got in the way of those plans, however, and it was delayed several times. Directed by Joseph Kosinski, produced by Jerry Bruckheimer and co-produced and co-financed by Skydance, the sequel reportedly cost $152 million to make.
But even as the months, and years, went by and many other companies chose to compromise on hybrid releases, Cruise and Paramount didn’t waver on their desire to have a major theatrical release. A streaming debut was simply not an option.
“That was never going to happen,” Cruise said in Cannes.
And it is major, with 4,735 North American theaters (a record) showing “Top Gun: Maverick.” It also opened in 23,600 locations in 62 international markets.
“This is one of the longest runways for a marketing campaign for any film ever. And it only served to create more excitement around the movie,” said Paul Dergarabedian, the senior media analyst for Comscore. “This movie literally waited for the movie theater to come back.”
The buildup has been just as flashy, with fighter-jet-adorned premieres on an aircraft carrier in San Diego and at the Cannes Film Festival, where Cruise was also given an honorary Palme d’Or, and a royal premiere in London attended by Prince William and his wife Kate.
“The feeling you get when you watch this film with an audience, it’s pretty special,” Aronson said. “The first big screening we had, there was spontaneous applause during the movie.”
Reviews have been stellar, too, with the film notching a 97% on Rotten Tomatoes. Audiences, who were 58% male, gave it an A+ CinemaScore, according to exit polls.
The new film has Cruise reprising the role of Maverick, who returns to the elite aviation training program to train the next generation of flyers, including Miles Teller, Glen Powell, Monica Barbaro, Greg Tarzan Davis, Danny Ramirez, Lewis Pullman and Jay Ellis. Jennifer Connelly, Jon Hamm and Val Kilmer, reprising his role from the original, also star.
“This solidifies the notion that the movie theater is a singular and a vitally important outlet for people,” Dergarabedian said. “People are looking for a great escape from everything that’s going on in the world right now.”
“Maverick” is now among the top pandemic era openings, still led by “Spider-Man: No Way Home” with $260 million, followed by “Doctor Strange in the Multiverse of Madness” with $187 million and “The Batman” with $134 million.
Notably, “Top Gun: Maverick” is the only non-superhero movie in the bunch. It also attracted a wide swath of age groups to the theater. An estimated 55% of the audience was over 35.
“Superhero movies aren’t for everybody. This movie is for everyone and that’s what sets it apart,” Aronson said. “The theatrical exhibition business has challenges ahead of it, but this is a shot in the arm for that.”
“The Bob’s Burgers Movie” was the only new release that dared go up against “Top Gun.” Released by 20th Century Studios and Disney, the animated pic earned $12.6 million from 3,425 locations. It opened in third place, behind “Doctor Strange 2,” which earned $16.4 million in its fourth weekend in theaters.
“Top Gun” will continue to essentially have the skies to itself until “Jurassic World: Dominion” opens June 10.
“It has a really nice, open marketplace to play,” Dergarabedian said. “Tom Cruise has always been about consistency. His movies are about the marathon. This is the first movie of his that is sprinting to big box office numbers. Here, he gets the sprint and the marathon.”
Estimated ticket sales for Friday through Sunday at U.S. and Canadian theaters, according to Comscore. Final domestic figures will be released Tuesday.
“Top Gun: Maverick,” $124 million.
“Doctor Strange in the Multiverse of Madness,” $16.4 million.
“The Bob’s Burgers Movie,” $12.6 million.
“Downton Abbey: A New Era,” $5.9 million.
“The Bad Guys,” $4.6 million.
“Sonic the Hedgehog 2,” $2.5 million.
“Everything Everywhere All At Once,” $2.5 million.
“The Lost City,” $1.8 million.
“Men,” $1.2 million.
“F3: Fun and Frustration,” $1 million.
Swedish director Ruben Ostlund’s class warfare comedy “Triangle of Sadness” won the Palme d’Or at the 75th Cannes Film Festival on Saturday, giving Ostlund one of cinema’s most prestigious prizes for the second time.
Ostlund, whose art-world send-up “The Square” took the Palme in 2017, pulled off the rare feat of winning Cannes’ top award for back-to-back films. “Triangle of Sadness,” featuring Woody Harrelson as a Marxist yacht captain and a climactic scene with rampant vomiting, pushes the satire even further.
“We wanted after the screening (for people) to go out together and have something to talk about,” said Ostlund. “All of us agree that the unique thing with cinema is that we’re watching together. So, we have to save something to talk about, but we should also have fun and be entertained.”
The awards were selected by a nine-member jury headed by French actor Vincent Lindon and presented Saturday in a closing ceremony inside Cannes’ Grand Lumière Theater.
The jury’s second prize, the Grand Prix, was shared between the Belgian director Lukas Dhont’s tender boyhood drama “Close,” about two 13-year-old boys whose bond is tragically separated after their intimacy is mocked by schoolmates; and French filmmaking legend Claire Denis’ “Stars at Noon,” a Denis Johnson adaptation starring Margaret Qualley as a journalist in Nicaragua.
The directing prize went to South Korean filmmaker Park Chan-wook (“Oldboy,” “The Handmaiden”) for his twisty noir “Decision to Leave,” a romance fused with a police procedural.
Korean star Song Kang-ho was named best actor for his performance in Japanese director Hirokazu Kore-eda’s film “Broker,” about a Korean family seeking a home for an abandoned baby.
“I’d like to thank all those who appreciate Korean cinema,” said Song, who also starred in Bong Joon Ho’s Palme d’Or winning film “Parasite” in Cannes three years ago.
Best actress went to Zahra Amir Ebrahimi for her performance as a journalist in Ali Abbasi’s “Holy Spider,” a true-crime thriller about a serial killer targeting sex workers in the Iranian religious city of Mashhad. Violent and graphic, “Holy Spider” wasn’t permitted to shoot in Iran and instead was made in Jordan. Accepting the award, Ebrahimi said the film depicts “everything that’s impossible to show in Iran.”
The jury prize was split between the friendship tale “The Eight Mountains,” by Charlotte Vandermeersch and Felix Van Groeningen, and Polish director Jerzy Skolimowski’s “EO,” about a donkey’s journey across a pitiless modern Europe.
“I would like to thank my donkeys,” said Skolimowski, who proceeded to thank all six donkeys used in the film by name.
The jury also awarded a special award for the 75th Cannes to Belgian directors Jean-Pierre and Luc Dardenne, two-time Palme-winners and long a regular presence at the festival, for their immigrant drama “Tori and Lokita.” Swedish-Egyptian filmmaker Tarik Saleh took best screenplay at Cannes for “Boy from Heaven,” a thriller set in Cairo’s Al-Azhar Mosque.
The award for best first film, the Camera d’Or, went to Riley Keough and Gina Gammell for “War Pony,” a drama about the Pine Ridge Reservation made in collaboration with Oglala Lakota and Sicangu Lakota citizens.
Saturday’s closing ceremony brought to a close a Cannes that attempted to fully resuscitate the annual France extravaganza that was canceled in 2020 by the pandemic and saw modest crowds last year. This year’s festival also unspooled against the backdrop of the war in Ukraine, which sparked red-carpet protests and a dialogue about the purpose of cinema in wartime.
Last year, the French body horror thriller “Titane” took the top prize at Cannes, making director Julia Ducournau only the second female filmmaker ever to win the Palme. In 2019, Bong Joon Ho’s “Parasite” triumphed in Cannes before doing the same at the Academy Awards.
This year, the biggest Hollywood films at Cannes — “Elvis,” “Top Gun: Maverick,” “Three Thousand Years of Longing” — played outside Cannes’ competition lineup of 21 films. But their presence helped restore some of Cannes’ glamour after the pandemic scaled down the festival for the last two years.
Програма релокації в Україні була започаткована через російське вторгнення для захисту промислових потужностей підприємств всіх форм власності
Karmila Purba revs her motorbike under the lights of an Indonesian night carnival and rides up horizontally inside a wooden cylinder called Satan’s Barrel, drawing gasps from spectators looking down into the drum.
With a smile on her face, Purba delights onlookers as she fearlessly pings around the bowl in Bogor, West Java, spreading her arms to collect tips waved by those above.
The gravity-defying daredevil is among a handful of women that perform the stunt in Indonesia, zipping around a structure more commonly known as the “Wall of Death.”
Women becoming “Wall of Death” riders is “extremely rare,” the 23-year-old told AFP before the show.
“When I started there was no one else … so I wanted to be something different, doing something that no one else was doing.”
For decades, the Satan’s Barrel — or “Tong Setan” — has been the main attraction at traveling funfairs in Indonesia, particularly in rural areas where there are few options for affordable entertainment.
Using centrifugal force, riders sling their bikes around the motordrome at high speeds without protective gear as the smell of rubber fills the air.
Purba came from humble beginnings, earning a meagre living as a street busker on the island of Sumatra in western Indonesia before switching jobs eight years ago for a better income of around 6 million rupiah ($410) a month.
She can also earn up to 400,000 rupiah ($27) in tips on a good day.
But at the beginning of her daredevil journey, she faced questions about her career choice.
“People were saying to me, ‘You are a woman, why do you do something like that? It’s not for females’,” she said.
“There was a lot of criticism.”
Fans eventually began to praise Purba, giving her the nickname “the Princess of the Wall of Death.”
Now she is one of the star acts of the carnival.
“(A) female wall of death rider is very interesting and has become the main attraction in this night market because people are curious,” spectator Sumarno told AFP while watching the show.
“They didn’t believe a woman could do something extreme like that.”
У Сенаті зареєстрували резолюцію, що закликає Білий дім відреагувати на використання голоду як зброї у час війни
By : ProdusE -
«Навмисне морити мирних жителів голодом як знаряддя ведення війни є воєнним злочином»
Experts say Mali’s struggle against Islamist militants is putting its World Heritage sites at risk. For the first time in modern history, officials say, the annual replastering of the mud mosque in the town of Djenné in central Mali will likely be canceled because of security concerns. The concerns cast doubt onto the government’s claim it is winning the fight against terrorism.
The Great Mosque of Djenné is the largest mud brick building in the world and was a main attraction in Mali’s formerly thriving tourism industry.
Each year the mosque is replastered in an event known as the “crépissage.” This year, the event is on the verge of cancellation for the first time, as Mali’s decadelong conflict has gradually moved south into the center of the country.
A Djenné resident who wished to remain anonymous, speaking via a messaging app from Djenné, said that in recent weeks he saw ambulances circulating in town and military helicopters flying overhead, signs of unrest in neighboring villages. The Malian army said on its Twitter account this month that four soldiers were killed in a roadside bomb attack near the town.
He said that due to insecurity, village residents have decided not to hold the crépissage this year, an event he has participated in since he was a child.
Abdramane Dembele, deputy mayor of Djenné, said that the crépissage has not yet been officially canceled, but has been delayed due to insecurity. If rescheduled, it would need to be held before the rainy season begins in June. One of the objectives of the crépissage is to protect the building from rain.
Abdoulaye Deyoko is an engineer and city planner and founder of Bamako’s School of Engineering, Architecture, and Urbanism, and a tireless advocate for Mali’s mud architecture.
Deyoko explained that the mosque is built from “banco,” a mixture of mud and small pieces of rice bran.
When it rains, he said, these small pieces have a tendency to break away. Traditionally, villagers have a celebration, a type of ritual that allows them not only to repair the mosque but to celebrate.
Deyoko said that despite this, he thinks the Djenné mosque can hold up for a year or two without the crépissage, although he said the event is important for the social life of the town, not just for technical maintenance.
The Djenné mosque and surrounding mud brick town is on the UNESCO List of World Heritage in Danger.
Ali Daou, UNESCO’s culture program director in Mali, said Djenné, like all of Mali’s four World Heritage sites, is in danger because of the ongoing hostilities. It is not just the threat of direct conflict, he said, but the difficulty of conducting the annual crépissage that puts the site at risk.
In recent months, Mali’s military government has launched a highly publicized offensive against Islamists. Many locals, though, say that these military operations target civilians rather than extremists.
The army claimed to have killed 200 terrorists in the village of Moura in March, while residents said the majority of those killed were innocent civilians.
The arrival of the pandemic intensified feelings of loneliness and social isolation for millions of older people, many of whom were already battling depression and other health issues. For those struggling, a robot companion might make a difference, and states like New York are starting to provide them to residents free of charge. VOA’s Julie Taboh has more. Camera: Adam Greenbaum
A documentary about discrimination within the ranks of Dutch police has sparked a national conversation in the Netherlands about racism, with many officers and others hoping it will finally bring about change.
The Blue Family, or De Blauwe Familie in Dutch, discusses a culture of bullying and fear in the national police force. It premiered on Dutch television Monday, timed around the second anniversary this week of the killing of George Floyd at the hands of Minnesota police.
“There is no way back,” Peris Conrad, one of the officers featured in the film, told The Associated Press.
Born in the former Dutch colony Surinam, Conrad dreamed of being a police officer as a child. He moved to the Netherlands when he was 4 years old, and after a stint in the military, became a security guard.
While in that job, he had an encounter with police officers who were looking for information about crime in the Surinamese community. The officers encouraged him to join the force himself, which he did, ultimately spending 26 years in service.
But Conrad, who is Black, recalled how in his first year at the police academy, colleagues hung a picture of him with cell bars drawn on it. The caption read: “Our monkey in a cage.”
Police leaders received an early showing of the film and promised action.
“The personal stories make it painfully clear how great the impact is (of the racism), and how long it will last,” Police Chief Henk van Essen said in a statement. “We all have something to do; not just executives, but all 65,000 colleagues. Because safety outside starts with safety inside.”
“There is no room for racism and discrimination in our police,” Justice Minister Dilan Yesilgöz told Dutch talk show RTL Boulevard.
The Dutch parliament voted by a large majority this week to place police leaders under stricter supervision, citing the suicides in recent years of three officers who had complained about discrimination.
Last year, a Dutch newspaper published messages from police group chats that showed officers making racial slurs and joking about killing non-white people. “One less Turk” one officer wrote, in response to the slaying of a 16-year-old girl who was shot and killed by her ex-boyfriend in her high school’s bicycle shed.
As in other countries, the problems in the Netherlands have a long history. A 1998 report by the Ministry of Internal Affairs said discrimination was driving out police officers with a “migration” background — defined as having at least one parent born abroad.
While 24% of the Dutch population meets that definition, only 14% of the police force does. The National Police Corps employs some 65,000 people, and around 40,000 work as officers.
Margot Snijders has spent 30 years on the national force, including several years working on diversity and inclusion efforts. After years of frustration, she took a step back from that role.
“People don’t trust us, and they don’t want to work for us,” Snijders, who also appears in The Blue Family, told The Associated Press.
George Floyd’s death in the U.S. two years ago prompted protests of racial injustice in the Netherlands and around the world. Controle Alt Delete, an advocacy organization that pushes for better law enforcement practices, wanted to highlight problems within the Dutch police force.
The group brought on board filmmakers Maria Mok and Meral Uslu to direct and produce the documentary, which was backed by Dutch public broadcaster KRO-NCRV.
Problems with racism, as well as discrimination against women and members of the LGBTQ community, are widespread and systemic within police ranks, said Jan Struijs, the chairperson of the country’s largest police union.
Struijs also took part in the film. “I hope this is a historic turning point,” he told the AP.
The first article of the country’s constitution, which is displayed on posters in every police station, outlaws discrimination against any group. The Dutch consider themselves to be some of the most open-minded, tolerant people in the world.
There’s been no significant criticism of the The Blue Family, those involved in the documentary welcomed the response to it.
“I have been saying the same things for years, only now do they get a positive reaction,” Snijders said.
The Dutch police union is calling for better mental health counseling for officers and more accountability for ones who make racist jokes.
Conrad sees a need for widespread change, both in policy and leadership.
In the meantime, he’s forbidden his 20-year-old son from joining the force.
“I don’t want him to experience this,” he said.
A former director of the Louvre Museum in Paris has been charged with conspiring to hide the origin of archaeological treasures that investigators suspect were smuggled out of Egypt in the chaos of the Arab Spring, a French judicial source said Thursday.
Jean-Luc Martinez was charged Wednesday after being taken in for questioning along with two French specialists in Egyptian art, who were not charged, another source close to the inquiry told AFP.
The Louvre, which is owned by the French state, is the world’s most visited museum with around 10 million visitors a year before the COVID-19 pandemic and is home to some of Western civilization’s most celebrated cultural heritage.
The museum declined to comment when contacted by AFP.
French investigators opened the case in July 2018, two years after the Louvre’s branch in Abu Dhabi bought a rare pink granite stele depicting the pharaoh Tutankhamun and four other historic works for 8 million euros ($8.5 million).
Martinez, who ran the Paris Louvre from 2013-21, is accused of turning a blind eye to fake certificates of origin for the pieces, a fraud thought to involve several other art experts, according to French investigative weekly Canard Enchaine.
He has been charged with complicity in fraud and “concealing the origin of criminally obtained works by false endorsement,” according to the judicial source.
Martinez is currently the French foreign ministry’s ambassador in charge of international cooperation on cultural heritage, which focuses in particular on fighting art trafficking.
“Jean-Luc Martinez contests in the strongest way his indictment in this case,” his lawyers told AFP in a statement.
Arab Spring looting
“For now, he will reserve his declarations for the judiciary, and has no doubt that his good faith will be established,” they said.
French investigators suspect that hundreds of artifacts were pillaged from Egypt and other Middle Eastern countries during protests in the early 2010s that became known as the Arab Spring. They suspect the artifacts were then sold to galleries and museums that did not ask too many questions about previous ownership.
Martinez’s indictment comes after the German-Lebanese gallery owner who brokered the sale, Robin Dib, was arrested in Hamburg in March and extradited to Paris for questioning.
Marc Gabolde, a French Egyptologist, was quoted by Canard Enchaine as saying that he informed Louvre officials about suspicions related to the Tutankhamun stele but received no response.
The opening of the inquiry in 2018 roiled the Paris art market, a major hub for antiquities from Middle Eastern civilizations.
In June 2020, prominent Paris archaeology expert Christophe Kunicki and dealer Richard Semper were charged with fraud for false certification of looted works from several countries during the Arab Spring.
They also had a role in certifying another prized Egyptian work, the gilded sarcophagus of the priest Nedjemankh that was purchased by the Metropolitan Museum of Art in New York in 2017.
Gabolde said an Egyptian art dealer, Habib Tawadros, was also involved in both suspect deals.
After New York prosecutors determined that the sarcophagus had been stolen during the revolts against Egyptian president Hosni Mubarak in 2011, the Met said it had been a victim of false statements and fake documentation, and returned the coffin to Egypt.