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The Journey to Rogun: A Nation's AmbitionThe road to Rogun Dam from Tajikistan's capital Dushanbe winds through rocky hills and small villages, offering a glimpse into the challenging terrain where this monumental project is taking shape. For Tajikistan, a nation familiar with winter power outages and harsh geography, the Rogun Dam represents more than just infrastructure—it's a promise of energy security and economic independence.The Engineering Marvel: Taming the Vakhsh RiverThe $5 billion Rogun project, originally launched in the mid-1970s to address Tajikistan's chronic energy shortages, has been described by President Emomali Rahmon as a matter of 'life or death.' The dam is being constructed on extremely difficult terrain, requiring complex engineering solutions including access roads, excavation, transportation challenges, and river control systems.A Subterranean Network: The Hidden InfrastructureRogun is not merely a concrete wall holding back water but an entire network of tunnels, diversions, canals, and facilities beneath and around the mountain. The project includes hydraulic tunnels ranging from 1,100 to 1,500 meters in length and an underground power station housing six units designed to harness the power of the Vakhsh River.The Power Generation: From Water to ElectricityAt the heart of the project are massive turbines that will convert the movement of water into electricity. Once completed, the dam will stand 335 meters high, making it one of the tallest in the world, with a power plant capable of producing approximately 3,600 megawatts of electricity—enough to potentially transform Tajikistan's energy landscape and allow for power exports to neighboring countries.The National Dream: Project of the CenturyFor Tajikistan, Rogun has become the 'Project of the Century'—a gamble on the nation's geography to turn adversity into strength. While the project offers tremendous potential benefits, it also carries significant risks requiring massive funding, meticulous management, stringent safety guarantees, and careful balance with downstream countries in the sensitive regional water system.

Visual Chronicle of Georg Baselitz’s Career The Guardian’s latest feature assembles more than 150 photographs spanning six decades, offering a rare visual narrative of German painter and sculptor Georg Baselitz from his early apprenticeship to his recent retrospectives. The Guardian’s Photo Retrospective Unveiled Published on 30 April 2026, the online gallery pairs archival images with commentary from curators at the Berlinische Galerie and the Städel Museum. Highlights include: 1965: First solo exhibition in Düsseldorf 1977: The controversial Die Umkehr series that cemented his reputation 1995: Major retrospective at the MoMA 2023: Installation of his monumental The Great Friends sculpture in Berlin Market Metrics: Baselitz’s Auction Records and Exhibition Attendance While the piece is primarily visual, recent figures underscore Baselitz’s commercial clout: 2024: Die große Nacht im Eimer sold for $12.3 million at Christie’s, a 15 % increase over its 2019 estimate. 2025: The Berlin retrospective attracted 120,000 visitors in its first month, surpassing the venue’s average by 35 %. 2026: Global online views of the Guardian feature topped 2 million within 48 hours. Shaping Neo‑Expressionism: Baselitz’s Enduring Influence Baselitz’s practice of inverting his figures challenged post‑war aesthetic norms and inspired a generation of artists from Anselm Kiefer to contemporary Neo‑Expressionist painters in Asia. Critics note that his willingness to “turn the canvas upside down” continues to inform debates on form versus content. Future Trajectory: Baselitz’s Legacy in the Digital Age As museums digitise their collections, Baselitz’s work is poised for renewed scholarly attention. The Guardian’s interactive timeline hints at upcoming virtual‑reality exhibitions, suggesting that his bold visual language will find new audiences through immersive tech.

Spain’s most iconic anti‑war painting, Guernica, is at the centre of a heated dispute: Basque president Imanol Pradales wants to move it to Bilbao for a special exhibition, while Prime Minister Pedro Sánchez’s government blocks the request on conservation grounds, turning a cultural decision into a flashpoint for Basque‑Spanish politics.Key DevelopmentsSeptember 2025: Spain commemorates the 45th anniversary of Guernica’s return from MoMA.April 2026: Pradales petitions the Ministry of Culture to loan Guernica to Bilbao’s Guggenheim for a few months, framing it as “reparation for the Basque people”.April 2026: Culture Minister Ernest Urtasun (Sumar) rejects the request, citing expert advice that further moves could damage the painting.April 2026: Conservative leaders, including Madrid’s president Isabel Díaz Ayuso, denounce the proposal as a political stunt.Data & Market ImpactThe Reina Sofía museum recorded 1.2 million visitors in 2023, with Guernica accounting for roughly 15% of ticket sales.Bilbao’s Guggenheim attracted 1.5 million visitors in the same year; a Guernica exhibition could boost attendance by an estimated 10‑15%, translating into €30‑45 million in additional tourism revenue.Conservation experts warn that each relocation raises the risk of micro‑fractures and pigment loss, potentially costing €5‑10 million in restoration.Why This Matters**Cultural identity** – The request underscores lingering Basque grievances over Franco‑era repression and the symbolic weight of Guernica as a reminder of regional suffering.**Political optics** – Both the centre‑left government and right‑wing opposition are using the debate to rally their bases, illustrating how cultural assets become leverage in Spain’s fragmented party system.**Economic stakes** – Museums rely on marquee works to drive tourism; a temporary move could reshape visitor flows between Madrid and Bilbao, affecting local economies.**Conservation precedent** – The decision will set a benchmark for how Spain handles the mobility of its most fragile heritage pieces.Expert InsightAnalysts see Pradales’ push as a calculated bid to cement Basque nationalist credentials ahead of the 2027 regional elections, while Sánchez’s refusal reflects a broader strategy to avoid setting a precedent that could invite further regional claims on national treasures. Conservationists argue that the painting’s current climate‑controlled display at Reina Sofía represents the safest environment; any move would require a costly, temporary protective enclosure, increasing the risk of irreversible damage. Moreover, the episode highlights a paradox: the very universality of Guernica’s anti‑war message is being narrowed into a domestic power struggle, diluting its global moral authority.What Happens Next**Short‑term** – The Ministry of Culture is likely to commission an independent technical review, potentially delaying any decision for six months.**Mid‑term** – If conservation concerns are mitigated, a compromise could involve a high‑resolution digital replica touring Basque venues while the original remains in Madrid.**Long‑term** – The dispute may catalyse a legislative review of heritage‑loan protocols, prompting stricter criteria for future relocations of nationally significant artworks.

A sharp political row has ignited between the central government in Madrid and the Basque regional authorities over a request to display Picasso’s Guernica at the Guggenheim Museum in Bilbao from 1 October to 30 June, coinciding with the 90th anniversary of the town’s devastating aerial attack.The masterpiece has been housed in Madrid’s Reina Sofía museum since 1992, and previous appeals to relocate it to the Basque Country have been consistently rejected.The latest demand has seen Isabel Díaz Ayuso, the outspoken conservative president of the Community of Madrid, and Aitor Esteban, leader of the Basque nationalist party, exchange barbed remarks, each accusing the other of a “provincial” outlook.Ayuso argued that moving the painting “doesn’t make sense” and quipped that, if origin mattered, “all of Picasso’s works should be sent to Málaga,” the artist’s birthplace. She also warned that the Reina Sofía fears the relocation could damage the delicate canvas.Esteban shot back, suggesting that Ayuso’s notion of national identity was reduced to “drinking beer on a terrace bar,” a jab at her stance on keeping Madrid’s bars open during the pandemic.Basque president Imanol Pradales challenged the Spanish government’s resolve, asking whether it could muster the courage to move Guernica after having “dragged Franco out of his tomb.” He framed the decision as a test of political will.The Basque administration proposes to exhibit the work at the Guggenheim for eight months, framing the display as a tribute to the victims of the 1937 bombing of the town of Guernica.The black‑and‑white canvas captures the horror of the attack carried out by the German Condor Legion and the Italian air force on 26 April 1937, an early example of strategic aerial bombardment of civilians during the Spanish Civil War.Casualty estimates for the raid vary widely—from as few as 126 to as many as 1,654 dead—yet the painting has become an enduring global symbol of the atrocities of war.After its debut at the 1937 Paris International Exposition, Guernica toured Europe and the United States. Picasso, who opposed its return to Spain under Franco’s dictatorship, later allowed it to reside at New York’s Museum of Modern Art (MoMA) for several decades.Art historian Francisco Chaparro cautioned that, while the Spanish government cannot entirely rule out a move, the risk of damage must outweigh any political motivations. He likened the situation to the Mona Lisa’s permanent stay at the Louvre and Velázquez’s *Las Meninas* at the Prado, noting that Guernica has been “rolled and unrolled on numerous occasions.”Artist José Manuel Ballester reminded observers that Picasso himself had envisioned the painting hanging in the Prado, a position he never assumed during the civil war.In 2000, the Reina Sofía rejected a request from MoMA to loan Guernica, declaring that the “great icon of our museum must remain, without exception, separate from the policy on lending works to other museums.”Note: The article was amended on 7 April 2026 to include the German Condor Legion alongside the Italian air force in describing the 1937 bombing.

Moma Foods, a British porridge and oat drink brand, has issued a recall for several of its porridge products in the UK due to a potential mouse contamination at their manufacturing site. The recall affects seven versions of its pots and two of its sachets.Customers are advised not to consume the affected products and to return them to the place of purchase for a full refund. The Food Standards Agency (FSA) confirmed the recall on its website, stating that these products may contain mouse contamination, making them unsafe to eat.The affected products include:Porridge pots: almond butter and salted caramel; apple, cinnamon and brown sugar; banana and peanut butter protein; blueberry and vanilla; cranberry and raisin; golden syrup; and plain no-added sugar.Sachets: almond butter and salted caramel; and apple, cinnamon and brown sugar.Moma Foods emphasized that the chance of contamination is low, but they have taken this precautionary step to ensure consumer safety. The company was founded in 2006 in a railway arch in Deptford, south-east London, initially selling porridge and smoothies.