fancy

Zurich, Switzerland

Zurich may be known as a financial centre, but it has a creative side, too. The Kunsthaus Zürich became the biggest art gallery in the country when its David Chipperfield-designed extension opened in 2021. Its collection spans 800 years of art, and includes old masters, Swiss artists such as Giacometti, works by Monet, Cézanne, Picasso, Van Gogh and Warhol, and contemporary artists.

The area around the Kunsthaus is now the Zurich Gallery Mile, best explored on the Zurich Art Weekend (12-14 June), held a week before the more famous Art Basel. Galleries have special exhibitions, guided tours and talks, and there are performances, art walks, screenings and parties.

In Zurich-West, a brewery built in the 1890s became an arts centre in the 1990s. The Löwenbräukunst-Areal now houses several modern and contemporary galleries, including a branch of Hauser & Wirth.

Near Lake Zurich, the Museum Rietberg showcases non-European art in three historic villas (one where Wagner wrote Tristan and Isolde), a modern extension and surrounding parkland. Current exhibitions focus on Indian paintings, Japanese woodblock prints and Chinese lacquerware.

Day trip In Baden, 15 minutes away by fast train, the Museum Langmatt reopened this month after two years of renovation. The art nouveau villa displays about 50 French impressionist masterpieces by Cézanne, Degas, Gauguin, Monet, Pissarro, Renoir and more.

Lille, France

Paris is the undisputed art capital of France, but Lille has some excellent galleries with lower prices and a fraction of the crowds, and can be reached even more quickly by Eurostar from London (just 1hr 20mins). The Palais des Beaux-Arts, in a beautiful 19th-century building, houses perhaps France’s richest art collection after the Louvre, by artists such as Rodin, Van Dyck, Rubens, Delacroix, Goya and Courbet (and entry is just €7 versus the Louvre’s €22).

LaM, a modern and contemporary art gallery that’s a 30-minute bike, Métro or bus ride from the city centre, reopened in February after an extensive renovation. The inaugural exhibition is a Wassily Kandinsky retrospective (until 14 June), while the permanent collection includes work by Modigliani, Fernand Léger, Paul Klee and Louise Bourgeois. Its sculpture garden contains 10 monumental pieces by Alexander Calder and more.

Day trip In Roubaix, 10 minutes away by fast train, an art deco former swimming pool is now La Piscine museum. The old showers and changing rooms now display ceramics (some by Picasso), paintings, textiles, jewellery and sculpture, all lit through stained-glass windows. In nearby Lens, the Louvre-Lens museum – a satellite gallery of the Louvre – has 250 artworks arranged chronologically from the third century BC to the mid-19th century.

Warsaw, Poland

Warsaw’s art scene had a huge boost in 2024 with the opening of the Museum of Modern Art (MSN Warsaw). The bright white building stands in contrast to Stalin’s menacing Palace of Arts and Science next door, and showcases Polish and international artists of the 20th and 21st centuries, including Sarah Lucas and Wolfgang Tillmans.

Other modern galleries include the Zachęta National Gallery of Art, which has 20th-century and contemporary art from painting to installation, video and performance. It has staged exhibitions by artists including Marlene Dumas and Luc Tuymens, and is currently showing the American abstract artist Barbara Kasten (until 7 June). The Ujazdów Castle now houses the Centre for Contemporary Art, with a diverse programme of exhibitions, talks, films and outdoor events in the surrounding park.

Warsaw isn’t just about modern art. The National Museum, founded in 1862, is one of the oldest museums in the country. Its six permanent art galleries range from antiquity through medieval art to the 19th century. One highlight is Jan Matejko’s enormous Battle of Grunwald (1878), one of the best-known paintings in Poland. A temporary exhibition of 30 paintings by the Krakow-born artist Olga Boznańska (1865-1940), who also has work in the Musée d’Orsay in Paris, runs until 5 July.

And at the Royal Castle, the two most prized paintings in the Lanckoroński Gallery are by an old master: The Girl in a Picture Frame and The Scholar at the Lectern by Rembrandt.

Day trip Łódź, a couple of hours away by train, has a trio of galleries covering 19th-, 20th- and 21st-century art respectively: the Herbst Palace Museum, MS1 and MS2.

Verona, Italy

Fair Verona, the home of Shakespeare’s star-crossed lovers, is overshadowed as an artistic centre by its neighbour, Venice. But this romantic city has more to offer than Juliet’s balcony. The Palazzo Maffei, a 17th-century baroque building on Piazza della Erbe, opened as a gallery in 2020. It is laid out like a cabinet of curiosities, displaying an incredible private collection of art from antiquity to today. There is a strong focus on modern masters, including Picasso, Miró, Kandinsky and Magritte.

GAM, the modern art gallery, is in the Palazzo delle Ragione, one of the oldest public buildings in Italy (built in the mid-1100s). The collection spans from the early 19th century to the present day, with a focus on the Italian avant garde. As well as the artworks, visitors can see the palace’s beautiful Cappella dei Notai and ascend the Torre dei Lamberti, the tallest building in Verona.

The Castelvecchio museum, housed in the 14th-century castle, displays Veronese and Venetian paintings from the medieval period to the 1700s, with work by Bellini, Tintoretto, Veronese and Rubens.

The Palazzo della Gran Guardia hosts temporary exhibitions – most recently the photography exhibition Human. The VisitVerona website has an events calendar with all upcoming exhibitions.

Day trip Book ahead to see the Giotta frescoes in the Scrovegni Chapel in Padua, 45 minutes away by fast train. The crowds here mean the city’s other attractions, such as the art gallery inside the Eremitani Museum next door, are often empty.

Oslo, Norway

Modern art lovers will find much to admire in the Norwegian capital. Edvard Munch has his own 13-storey museum, Munch, displaying three versions of The Scream and other renowned works including The Sun, Madonna, The Dance of Life and Love and Pain. The museum also showcases painting by Munch’s contemporaries, and holds temporary exhibitions – currently Paula Rego (until 2 August). Outside is Tracey Emin’s 9-metre high sculpture The Mother.

The National Museum, which opened in 2022, is the biggest gallery in the Nordic countries. It has a room devoted to Munch, and its own versions of The Scream and Madonna. The pioneering female artist Harriet Backer also has her own room, with many more Norwegian artists displayed alongside Berthe Morisot, Matisse, Picasso and others.

The Astrup Fearnley Museum, designed by Renzo Piano (the architect behind the Pompidou Centre in Paris and the Whitney in New York), has a leading collection of contemporary art, plus temporary exhibitions.

Day trip Munch owned a villa at Ramme, 40 minutes from Oslo, from 1910 until his death in 1944. The property has been restored and visitors can now book a guided tour, visit an underground art gallery displaying his work and that of other Norwegian artists from the 19th and 20th centuries, and follow an outdoor culture trail along the fjord.

Social media is full of posts showing off photos and videos of fancy-looking cafes and restaurants in Gaza. Pro-Israeli accounts often use these images to claim that life is back to normal in Gaza, that people are not suffering and that no genocide ever took place.

These cafes and restaurants do exist. I have seen them myself.

In late March, I went on my first visit to Gaza City since the war started. I was shocked to see the destruction wrought on the city. There were piles of rubble at every corner. Unable to recognise the streets, I felt as if I were strolling through a maze. I soon arrived at an area nearby that shocked me even more. It was full of new cafes that did not exist before the war.

These were not makeshift or temporary places as one might expect; they were built with expensive materials, carefully painted, furnished with tables, sofas, and elegant chairs, with glass facades and shining lights. A luxury feel emanated from them. They looked so out of place amid the rubble and the half-collapsed buildings that it felt almost surreal to see them.

These new establishments do not prove that normality is coming back to Gaza. They are a testament to its continuing genocidal abnormality.

The war made some people in Gaza rich, especially those who engaged in illicit activities like smuggling, looting, and hoarding during acute shortages. This wealth is now coming out in various forms, including luxury cafes and restaurants.

In parallel, the vast majority of Gaza’s population has been thrown into abject poverty. While before the war, the average person was able to afford to sit at a cafe and have a drink and a bite to eat, today this is no longer the case.

Most people cannot even look at these new places, let alone enter them and order something. The vast majority of Gaza’s population lives in tents, has no electricity or potable water, and suffers from the loss of livelihoods. They are surviving on what little aid Israel is allowing through.

I am one of them. My family and I live in a tent pitched near the rubble of our home in the Nuseirat camp. We have lost our family livelihood. The comfortable life we used to have is now just a distant memory.

The expensive new establishments reflect the deeply unjust social order that has emerged in Gaza – one where war profiteering has elevated a new privileged class and collapsed the vast majority into misery with no access to proper education, healthcare and even food. The genocide did not just kill and maim people and destroy homes and schools; it eliminated the prospect of a normal life for most people in Gaza.

I could not afford the fancy cafes, so I continued down the street till I reached a more modest restaurant, which used to go to with friends before the war. Entering it felt like stepping back in time to the days before the war; the place was the same, with the same chairs and tables, and the familiar smells that filled the space.

I sat and observed, dwelling on fond memories of spending time there after university lectures. I ordered what I used to order: a chicken wrap, a soda and a small salad plate. The bill was 60 shekels ($20) – more than three times what I would pay before the war, when my family actually had a normal income.

The restaurant bill, together with the fare I paid for a shared ride to get to Gaza City (15 shekels or $5 one way), cost me a fortune. I felt guilty spending all this money to enjoy a glimpse of normalcy.

The few who are fortunate enough to be able to afford going to cafes and restaurants in Gaza may enjoy short moments of relief, a temporary escape from the horrors of reality. Yet these moments are limited, often accompanied by anxiety about returning to the destroyed streets, the bombed-out landscape and the trauma.

As I sat at Al-Taboon, I thought of the friends with whom I used to spend time: Rama, who was martyred and Ranan, who escaped to Belgium. I sat there alone, holding on to these memories amid the greyness of Gaza’s rubble and the lights of the generator-powered cafés.

The genocide has devasted everyone – even those who have profiteered from it. No amount of time spent in shiny cafes and restaurants will ever erase this reality.

The views expressed in this article are the author’s own and do not necessarily reflect Al Jazeera’s editorial stance.