
Art & Culture
61° Wildlife Photographer of The Year

The world’s most important nature photography competition, Wildlife Photographer of the Year, presents a preview of its sixty-first edition, which will be on display at the Natural History Museum in London from Friday, October 17, 2025. The exhibition will also be hosted at the Museo della Permanente in Milan from November 15, 2025, to January 25, 2026.
The exhibition will feature 100 evocative and powerful images of our natural world, selected from a record number of 60,636 entries and judged anonymously for their creativity, originality, and technical excellence by an international jury of experts in wildlife photography, film, science, and conservation.
Among the images revealed in advance are a dramatic clash between a lion and a cobra by Gabriella Comi, a portrait of a curious pack of Arctic wolves by Amit Eshel, and stunning photographs of flamingos, coyotes, and red deer taken by some of the best emerging young wildlife photographers, some of them just nine years old.




Award Ceremony and Recognition
The category winners and the prestigious Grand Title and Young Grand Title awards will be announced on Tuesday, October 14, 2025, during a ceremony hosted at the Natural History Museum by presenters and conservationists Chris Packham and Megan McCubbin (broadcast live on the NHM YouTube channel).
Scientific Innovation: The Biodiversity Intactness Index
The sixty-first edition of the exhibition will also give visitors the opportunity to gain a deeper understanding of how our planet’s habitats are changing. Alongside the award-winning photographs, there will be insights into some of the habitats depicted thanks to the museum’s groundbreaking Biodiversity Intactness Index (BII)—a scale from 0 to 100% that measures how much of a region’s natural biodiversity remains. Adopted as an official indicator of the Global Biodiversity Framework for policy decisions, it is an essential tool for understanding, monitoring, and communicating biodiversity change on a global scale and for tracking progress toward international conservation goals.
The Milan Experience
Roberto Di Leo, president of the cultural association Radicediunopercento, organizer of the exhibition at Milan’s Museo della Permanente, states:
“For over thirteen years we have brought Wildlife Photographer of the Year to Milan, turning the city into a reference point for those who love photography, nature, and scientific culture. In the Milan leg, the images come to life in large format, backlit by LED frames that enhance their visual power and make the experience even more immersive. What makes this edition special is the privilege of simultaneity with London: a rare opportunity that allows us to share with the Italian public, almost in real time, the same emotions experienced at the Natural History Museum. Alongside the visit, the program offers various guided tour options and at least four free events with prestigious guests from the worlds of photography and scientific outreach. For us, it is a source of pride to carry forward this project, which each year engages schools, families, and communities in a living, shared dialogue with the natural world.”
Expert Perspectives
Kathy Moran, chair of the Wildlife Photographer of the Year jury, says:
“Selected from a record number of over 60,000 images, these previews offer just a small taste of the 100 extraordinary, moving, and impactful photographs awaiting visitors at the October exhibition. As an advocate of the power of photography, I can say there is nothing more rewarding or moving than seeing our relationship with the natural world, in all its complexity and splendor, shared on the world’s most important wildlife photography platform.”
Dr. Doug Gurr, Director of the Natural History Museum, adds:
“Now in its sixty-first year, we are thrilled to continue Wildlife Photographer of the Year as a powerful platform for visual storytelling, showcasing the diversity, beauty, and complexity of the natural world and humanity’s relationship with it. With the inclusion of our Biodiversity Intactness Index, this edition will be the best combination yet of great art and cutting-edge science, inspiring visitors to become advocates for our planet.”

Global Impact and Exhibition Details
Tickets for the sixty-first edition of Wildlife Photographer of the Year, opening at the Natural History Museum on Friday, October 17, 2025, and running until Sunday, July 12, 2026, are already on sale. The exhibition will then begin a national and international tour across the UK and abroad, inspiring millions of people to appreciate and protect the natural world.
About Wildlife Photographer of the Year

Now in its sixty-first edition, Wildlife Photographer of the Year is the Natural History Museum of London’s global platform for the finest wildlife photography and environmental photojournalism. The annual competition, which receives more than 60,000 entries, is open to photographers of all ages, nationalities, and experience levels. Through its traveling exhibition and outreach activities that engage millions of people worldwide each year, more and more people are invited to celebrate and defend the natural world.
About the Natural History Museum, London

A world-class scientific center, the Natural History Museum is one of the most visited attractions in the UK. A global source of curiosity, inspiration, and joy, its mission is to build a future in which both people and the planet can thrive. The museum seeks to be a catalyst for change, engaging planet advocates in all its activities, while its 350 scientists search for solutions to the planetary emergency across every aspect of life.
EXHIBITION WPY61 IN MILAN
Dates: November 15, 2025 – January 25, 2026
Venue: Museo della Permanente, Via Filippo Turati 34, 20121 Milan
Info: M +39 3516982286 / info@radicediunopercento.it / www.radicediunopercento.it
Organized by: Associazione Culturale Radicediunopercento
Property of: Natural History Museum, London


VERSIONE ITALIANA
Il concorso di fotografia naturalistica più importante al mondo, Wildlife Photographer of the Year, presenta un’anteprima della sua sessantunesima edizione, che sarà in mostra al Natural History Museum di Londra da venerdì 17 ottobre 2025. L’esposizione sarà ospitata anche presso il Museo della Permanente a Milano, organizzata dall’Associazione Culturale Radicediunopercento, dal 15 novembre 2025 al 25 gennaio 2026 e presenterà le 100 suggestive e potenti immagini del nostro mondo naturale, selezionate tra un numero record di 60.636 candidature.
Tra le immagini svelate in anteprima spiccano un drammatico scontro tra un leone e un cobra di Gabriella Comi, un ritratto di un curioso branco di lupi artici di Amit Eshel e splendide fotografie di fenicotteri, coyote e cervi rossi realizzate da alcuni dei migliori giovani fotografi naturalisti emergenti, alcuni dei quali di appena nove anni.
I vincitori di categoria e i prestigiosi premi Grand Title e Young Grand Title saranno annunciati martedì 14 ottobre 2025 durante la cerimonia ospitata al Natural History Museum.
La mostra presenterà le 100 suggestive e potenti immagini del nostro mondo naturale, selezionate tra un numero record di 60.636 candidature e giudicate in forma anonima, in base alla loro creatività, originalità ed eccellenza tecnica, da una giuria internazionale di esperti in fotografia naturalistica, cinema, scienza e conservazione.
Tra le immagini svelate in anteprima spiccano un drammatico scontro tra un leone e un cobra di Gabriella Comi, un ritratto di un curioso branco di lupi artici di Amit Eshel e splendide fotografie di fenicotteri, coyote e cervi rossi realizzate da alcuni dei migliori giovani fotografi naturalisti emergenti, alcuni dei quali di appena nove anni.
I vincitori di categoria e i prestigiosi premi Grand Title e Young Grand Title saranno annunciati martedì 14 ottobre 2025 durante la cerimonia ospitata al Natural History Museum, condotta dai presentatori e conservazionisti Chris Packham e Megan McCubbin (diretta sul canale YouTube del NHM). La sessantunesima edizione della mostra offrirà inoltre ai visitatori la possibilità di comprendere meglio come stanno cambiando gli habitat del nostro pianeta. Oltre alle fotografie premiate, saranno a disposizione approfondimenti su alcuni degli habitat raffigurati grazie al rivoluzionario indice sviluppato dal museo, il Biodiversity Intactness Index (BII) che misura quanto rimane della biodiversità naturale di una regione, su una scala da 0 a 100%. Adottato come indicatore ufficiale del Global Framework Biodiversity per le decisioni politiche, è uno strumento essenziale per capire, monitorare e comunicare i cambiamenti della biodiversità su scala globale e per tracciare i progressi verso gli obiettivi internazionali di conservazione.
Roberto Di Leo, presidente dell’Associazione Culturale Radicediunopercento, organizzatore della mostra presso il Museo della Permanente di Milano, dichiara:
“Da oltre tredici anni portiamo a Milano il Wildlife Photographer of the Year, trasformando la città in un punto di riferimento per chi ama la fotografia, la natura e la cultura scientifica. Nella tappa milanese le immagini prendono vita in grande formato, retroilluminate da cornici a LED che ne esaltano la forza visiva e rendono l’esperienza ancora più immersiva. A rendere speciale questa edizione è anche il privilegio della contemporaneità con Londra: un’occasione rara che ci consente di condividere con il pubblico italiano, quasi in tempo reale, le stesse emozioni che si vivono al Natural History Museum. Accanto alla visita, il programma propone diverse soluzioni di visite guidate e almeno quattro incontri gratuiti con ospiti prestigiosi della fotografia e della divulgazione scientifica. Per noi è motivo di orgoglio portare avanti questo progetto, che ogni anno coinvolge scuole, famiglie e comunità in un dialogo vivo e condiviso con il mondo naturale.”
Kathy Moran, presidente della giuria del Wildlife Photographer of the Year, afferma:
“Selezionate da un numero record di oltre 60.000 immagini, queste anticipazioni offrono solo un piccolo assaggio delle 100 fotografie straordinarie, toccanti e di grande impatto che attendono i visitatori della mostra di ottobre. Come sostenitrice del potere della fotografia, posso dire che non c’è nulla di più gratificante o commovente che vedere il nostro rapporto con il mondo naturale, in tutta la sua complessità e splendore, condiviso sulla più importante piattaforma mondiale di fotografia naturalistica.”
Il dottor Doug Gurr, direttore del Natural History Museum, aggiunge:
“Giunta al suo sessantunesimo anno, siamo entusiasti di portare avanti il Wildlife Photographer of the Year come una potente piattaforma di narrazione visiva, che mostra la diversità, la bellezza e la complessità del mondo naturale e del rapporto dell’umanità con esso. Con l’inclusione del nostro Biodiversity Intactness Index, questa edizione sarà la migliore combinazione di grande arte e scienza all’avanguardia, ispirando i visitatori a diventare sostenitori del nostro pianeta.”
I biglietti per la sessantunesima edizione del Wildlife Photographer of the Year, che aprirà al Natural History Museum venerdì 17 ottobre 2025 e resterà visitabile fino a domenica 12 luglio 2026, sono già in vendita. La mostra partirà poi per un tour nazionale e internazionale nel Regno Unito e all’estero, per ispirare milioni di persone ad apprezzare e proteggere il mondo naturale.
Informazioni su Wildlife Photographer of the Year

Giunto alla sua sessantunesima edizione, Wildlife Photographer of the Year è la piattaforma globale del Natural History Museum di Londra dedicata alla migliore fotografia naturalistica e fotogiornalismo ambientale. La competizione annuale, che riceve oltre 60.000 partecipazioni, è aperta a fotografi di tutte le età, nazionalità e livelli di esperienza. Con la mostra itinerante e le attività di sensibilizzazione che coinvolgono milioni di persone in tutto il mondo ogni anno, sempre più persone sono invitate a celebrare e difendere il mondo naturale.
Informazioni sul Natural History Museum di Londra

Centro scientifico di livello mondiale il Natural History Museum è una delle attrazioni più visitate del Regno Unito. Una fonte globale di curiosità, ispirazione e gioia. La mission è costruire un futuro in cui le persone e il pianeta possano prosperare. Vuole essere un catalizzatore del cambiamento, coinvolgendo i difensori del pianeta in tutte le attività mentre 350 scienziati del museo cercano soluzioni all’emergenza planetaria in ogni aspetto della vita.
MOSTRA WPY61 A MILANO
DATE: 15 novembre 2025 – 25 gennaio 2026
SEDE ESPOSITIVA: Museo della Permanente, Via Filippo Turati 34, 20121 Milano
INFO: M +39 3516982286 / info@radicediunopercento.it / www.radicediunopercento.it
ORGANIZZATA DA: Associazione Culturale Radicediunopercento
PROPRIETÀ: Natural History Museum di Londra

Article Gallery
Continue Reading
Art & Culture
Sixteen days in Tunisia

Tunisia is named after Tunis. Not the other way around. If the country takes its name from the city, then any attempt to understand Tunisia must start in Tunis.
Before reading any further, look at a map. You must appreciate the exceptional location of Tunis; only then does the city make full sense. Historically, Tunis was little more than a compact nucleus pressed in the strip of land between the Séjoumi lagoon (a flamingo sanctuary) and Lake Tunis, once the natural harbour. Everything that now feels expansive, avenues, neighbourhoods, infrastructure, rests on land reclaimed from water. Bab Al-Bhar, the Sea Gate, crystallises this transformation: standing there today, flanked by white buildings, you have to imagine the water once visible straight through the gate. The city quite literally stole land from the sea as it expanded.
That tension between land and water, between natural geography and human intervention, repeats itself everywhere in Tunisia. An artificial peninsula appears in the ancient harbours of Carthage. Salt lakes replace vanished seas in Chott el Djerid. Urban coastlines are pushed back, fortified, paved over. Today, the landscape bears the marks of centuries of negotiation with water, sometimes reverent, sometimes violent. But let’s stay in the capital for a moment.
Visiting the medina (old town) on a Sunday, when most souks are closed, made the architecture audible. Without the commercial noise, proportions, light and texture take over; the business-day buzz is thrilling, but silence teaches you how the city breathes. That quiet also sharpens your attention to thresholds. And then the beauty of the doors hits you. Again and again. Painted, carved, symbolic, they demand to be read, often concealing unexpected worlds behind them. In the medina, access is never guaranteed: museums may still be family homes, so you knock, you wait and someone might let you in. Knowledge survives through generosity. This constant negotiation between private and public space explains why repurposing feels so natural here. People inhabit ancient burial sites, former shrines become cafés and even the old slave market has transformed into the jewellers’ quarter; history reused rather than erased. The twenty madrasas scattered through the medina embody this logic perfectly: still embedded in daily life, neither fully public nor entirely private, their doors test your luck. Finally stepping inside one felt unreal, courtyards opening suddenly, tiled interiors that seemed imagined rather than constructed. I honestly felt I was dreaming.
But don’t forget to look up, as architecture constantly communicates power, belief and belonging, often far more than we initially perceive. The green-tiled domes signalling burial places, the octagonal or patterned motifs minarets proclaiming variants of Islam (Ottoman and Almohad respectively) or the colour codes identifying hammams and barber shops all speak a visual language that locals instinctively read. In Tunis, belief is never private, it is inscribed into skylines and façades.
That inscription extends inward. Mosques feel less like austere institutions than wellness centres, spaces of rest, learning and calm. Mats are placed against ancient columns to shield people’s backs from the cool marble. I even witnessed people nap inside Al-Zaytuna. So much peace that you can sleep. How do churches compare?

Al-Zaytuna itself is the city’s anchor, the Great Mosque. The souks grew around it, originally as little more than rented awnings, now covered streets wrapping commerce around devotion. You walk through trade and suddenly stumble into the sacred. Built in the seventh century, shortly after the Islamic conquest of Byzantine Africa, the mosque stands on layers of belief. While it is likely that a temple existed here since antiquity, legend says it was built on the shrine of Saint Olive of Palermo. “Zaytuna” means olive, in Arabic and in Spanish. Language preserves memory even when stones are repurposed. Indeed, the entire prayer hall is held by a forest of Roman columns and capitals, older worlds literally supporting newer ones.
As a Spaniard, Tunisia had many a surprise in store for me. Rue des Andalous reveals one of Tunisia’s most consequential migrations. During the Middle Ages, much of Spain was Muslim. Forced conversions, expulsions and finally the mass expulsion even of Moriscos (former Muslims converted to Christianity) in 1609 drove tens of thousands across the sea. Spain was Al-Andalus in Arabic and so these Spaniards became known as “Andalusians”. Large numbers settled in Tunisia, founding neighbourhoods and entire industries. That legacy is not abstract. Chechias, the characteristic red felt hats associated with Tunisois men, were produced using techniques brought by Andalusian refugees. By the nineteenth century, chechia makers were among the wealthiest and most influential merchants in Tunis. The Tunis souks where you can still watch them work are living archives of forced migration turned cultural inheritance. Indeed, the link with Al-Andalus is still emotionally present. Several people called me “cousin” when I told them I was Spanish. It did not feel metaphorical. It felt familial. Spanish presence resurfaces repeatedly: forts at La Goulette, inscriptions in Castilian, Andalusian refugees founding towns like Testour, where the mosque clock runs backwards (‘anticlockwise’) like Arabic script. Jewish and Muslim Spaniards built whole towns together after fleeing persecution. They brought urban planning, architecture, food and memory.

Non-human animals are also everywhere if you know where to look, silently narrating human history. Today, cats dominate Tunis, lounging, glamorous, fully at home in the city. But North Africa was once also home to another feline: lions, ultimately erased from the landscape by hunting. At the Bardo museum, Roman mosaics celebrate them while also depicting their mass slaughter in amphitheatres. Venationes (gladiatorial hunting shows) paved the way to extinction long before modern poaching. Rome’s “games” were ecological disasters disguised as entertainment. El Djem boasts the third largest amphitheatre in the world, an uncomfortable reminder that the spectacle of violence against animals became industrial. Birds, too, mark survival. Storks now nest on electrical poles, thanks to recent conservationist efforts, and the ancient castle on the artificial Chikly island in Lake Tunis is now a natural reserve for over fifty-seven species.
Water management reveals another continuity of power. Ancient Carthage was defined by water engineering. Artificial harbours, commercial and naval, remain legible after 2,200 years. Aqueducts carried water across vast distances; cisterns stored enough to sustain one of the Mediterranean’s largest cities. Fresh water was sacred. Springs, such as that at Zaghouan, were divine. Nymphs were believed to guard the source so temples rose where water emerged from the rock. But human transformations of the landscape sometimes rival natural phenomena. Chott el Djerid, now a salt desert, was once part of the Mediterranean Sea. When geological shifts cut it off, the water evaporated, leaving salt behind. The salt is now actively extracted and shipped north, sold to Scandinavian countries as grit to combat icy roads. At the same time, visions of reversing this desiccation persist, from colonial-era schemes to the revival of the “Sahara Sea” project in the 2010s, approved by the Tunisian state in 2018. Coastlines have also been shaped by humans. Hammamet’s medina once met the waves directly. Boulders and walkways intervened. Monastir’s ribat once stood on the beach before roads severed it from the sea. Sousse’s medina now violently cut away from the Mediterranean. Tunisia has never stopped imagining how to reshape water.



Just as water and animals shape human settlement, so too does climate. Again and again in Tunisia, habitation reveals extraordinary adaptation to environment. At the ancient site of Bulla Regia, houses were built partly underground to escape heat, flooding interior spaces with light while sheltering them from extremes. At Matmata, troglodyte dwellings carved into the earth have stabilised temperature in a harsh desert landscape for centuries. At Zriba Olia, a town only abandoned decades ago, Amazigh (Berber) architecture merges seamlessly with mountain rock: the house ends, the mountain begins. Even the Roman theatre at Dougga takes perfect advantage of the mountain’s elevation. These are not picturesque oddities; they are intelligent, time-tested responses to landscape. But changes aren’t always benign, especially when colonial brutality is concerned. In Carthage, Roman policy deliberately buried, erased and levelled the Punic past on Byrsa Hill. Centuries later, French authorities turned amphitheatres into chapels, erected cathedrals atop Punic acropolises and even built a farmhouse on the Roman capitol at Oudna. Layers of civilisation were literally crushed to assert dominance. The irony is that archaeology eventually resurrected what imperial ideology tried to annihilate.



Language binds all of this astonishing diversity together. Phoenician (Punic) script underpins our Latin alphabet. Tifinagh survives among Amazigh communities. Writing systems are fossils of contact. Even humour reveals linguistic layering: Tunisians seem to have the worst, and best, wordplay, producing gems like “Pub-elle”, “Bar Celone” or “Mec Anic”, jokes cleverly built on French that land perfectly in Tunisian streets. Religion, too, refuses neat boundaries. Phoenician deities merge with Egyptian, Persian and Roman gods. Judaism flourished in North Africa from antiquity and remained deeply rooted in Tunisia until the twentieth century. Christianity arrived early, fractured into multiple denominations and left basilicas, cathedrals and martyrs’ narratives across the landscape. Islam absorbed, adapted and reinterpreted what came before. Syncretism is not the exception here, it is the rule.
By the end, what remains clearest is this: Tunisia is not a palimpsest with erased layers. It is an accumulation where nothing disappears entirely. Former seas leave salt. Empires leave infrastructure. Migrations leave words, recipes, and cousins!
Sixteen days is nothing.
And it was everything.
Written by: Fernando Nieto-Almada
ABOUT THE AUTHOR

Fernando read History at university in London and Paris and currently teaches Languages. You can follow him on Instagram here.
Art & Culture
“Patagonia National Park,” Book by Rewilding Chile
The publication celebrates the creation of this protected area, thanks to donations from Tompkins Conservation and contributions from the State.

Patagonia National Park is one of Chile’s most important ecological restoration or rewilding projects. It consists of the former Tamango and Jeinimeni reserves and the Chacabuco Valley, a sector that was donated by Tompkins Conservation to the State of Chile in 2018 and which was formerly one of the largest cattle ranches in the country.
To highlight and celebrate the work done in the Aysén region, where today the community can enjoy and connect with this protected area, where species and ecosystems are gradually regaining their place, the book “Patagonia National Park” was published.
The book’s photographs and stories are dedicated to the diverse landscapes of Patagonia National Park, encompassing forests, glaciers, and steppe, as well as the park’s wild inhabitants and the efforts being made to recover healthy populations of endangered species such as the huemul, rhea, puma, and Andean condor. Most of the images are by the prominent photographer Linde Waidhofer, while the texts were written by various personalities such as Yvon Chouinard, founder of the outdoor clothing brand Patagonia, a close climbing friend of Douglas Tompkins; environmental figures such as Marcelo Mena, and Juan Pablo Orrego, as well as the words of former president Michelle Bachelet, in the prologue.
In the summer of 1994, while Douglas and Kristine Tompkins were traveling through Patagonia, marveling at the beauty of the Aysén steppe, they camped on the banks of the Chacabuco River: “We imagined that such an extraordinary place should be protected forever; it was like nothing we had ever seen before,” said Kristine, co-founder of Rewilding Chile, at the time. Twelve years later, with the President of the Republic, Michelle Bachelet, she signed the decree to create the Patagonia National Parks Network, a public-private strategic vision of ecosystem conservation, which seeks to promote the economic development of local communities based on responsible nature tourism. At this milestone, the creation of the new Patagonia National Park was also announced.
Today, Kristine Tompkins presents to the community a book that brings together profound reflections with beautiful images of the park, which take you on a journey through this area at different moments in its history and give an account of the efforts made to restore this ecosystem. In its 276 pages, it brings together texts by 18 contributors who talk about the geological history of the park, the human settlement of the valley, the infrastructure developed for public access in the park, the change from a cattle ranch into a national park, its rich wildlife, the restoration actions to restore the park, the history of the park, the history of the park, the history of the park and the efforts made to restore the ecosystem.
The book contributes to the conservation of the ecosystem, among other topics.
For Carolina Morgado, executive director of Rewilding Chile, a legacy foundation of Tompkins Conservation, this book reinforces the concept that national parks are the jewels of a country where everyone is welcome. “With this book, we seek to bring the natural heritage closer to readers from different corners of the planet, to raise awareness about how nature can heal when we give it the space to do so,” concludes Carolina Morgado.
“Con este libro, buscamos acercar el patrimonio natural, a los lectores de diversos rincones del planeta, para generar conciencia sobre cómo la naturaleza puede sanar, cuando le damos el espacio para hacerlo” Carolina Morgado, directora ejecutiva Rewilding Chile
About the park
Patagonia National Park covers 304,000 hectares, where the former Lake Jeinimeni National Reserve and the former Tamango National Reserve were merged with the lands of the Estancia Valle Chacabuco, donated by Tompkins Conservation.
The most important features include the plant formations of the Patagonian steppe of Aysén, which is at its maximum expression in this area. Also noteworthy are the large extensions of Patagonian Andean forests present in the high and foothill sectors associated with bodies of water, which mainly contain three species of the beech genus (Nothofagus): the lenga, the ñire, and the coigüe. Rainfall can reach 200 millimeters a year, producing dense, nutrient-rich forests. These forests are home to 370 types of vascular plants, which are vital to the survival of the surrounding fauna.
Patagonia National Park is home to and protects the highest levels of biodiversity found in Aysén. All of the region’s native species are present, from Andean condors to guanacos and pumas. The park also protects large tracts of habitat for the endangered huemul, an iconic species part of Chile’s national coat of arms.

Art & Culture
Cultural Heritage Included in the COP30’s Ocean Action Agenda for the First Time
The United Nations Climate Change Conference (COP30) in Belem, Brazil had a
theme of “Forests to Sea” that recognized the interconnectedness of these two vital
ecosystems.
For the first time, in a significant milestone for international climate policy, culture and
heritage was formally recognized within the framework of the UN climate negotiations
under the “Fostering Human and Social Development” axis of the Global Climate Action
Agenda. This inclusion extended to the Ocean Action Agenda, integrating the human
and social dimensions of marine environments into the global conversation on climate
adaptation and use culture-based solutions for climate action.
Five new cultural heritage indicators were adopted as part of the 59 “Belém Adaptation
Indicators” for measuring progress against the Global Goal on Adaptation (GGA). These
indicators measure adaptation implementation for tangible and intangible heritage,
digitization, emergency preparedness, and community engagement, including
Indigenous knowledge and practices.
The new focus emphasizes that the ocean is not only a natural resource but also a
significant cultural space that shapes identities and livelihoods, particularly for coastal
and island communities.
The COP30 Virtual Ocean Pavilion hosted wide-ranging events – 2,500 registrations by
delegates representing 150+ countries fostering dialogue among leading voices
worldwide. Here are four of the art shows that were registered at the COP30 Virtual
Ocean Pavilion.
1. Paradise by Ian Hutton and Selva Ozelli for Lamont-Doherty Earth
Observatory of Columbia University
The Lamont-Doherty Earth Observatory (LDEO) is a world-renowned research
institution within Columbia University’s Climate School, founded in 1949 to study Earth’s
natural systems. LDEO scientists were among the first to map the seafloor, provide
proof for the theory of plate tectonics, continental drift and develop a computer model
for predicting El Niño events. LDEO’s research covers everything from formation of the
Earth and Moon, as well as the movement of carbon and other materials through Earth’s systems from its atmosphere through land via seismic activity, plate tectonics, tree ring
analysis to rivers and oceans to identify climate shifts and changes.
The LDEO’s Forests to Sea themed research and exhibits Art Meets Science for COP30
feature the interconnectedness of these two vital ecosystems through art and science
to encourage the expression of original ideas that have long, and transformative
impact. Professor Steven Goldstein, the Interim Director at LDEO, notes that “Science
and art share many common characteristics. The essence of science is to use our
imagination with observation and logic to comprehend the world around us, how it is,
was, and possibly will be, while art is also the expression of our imagination about what
is, was, or might be.” He has encouraged using art and science together to
communicate to the broad public the critical role of geoscience in our understanding of
how our planet works, which must serve as the basis for finding solutions to the climate
crisis.
Paradise by Ian Hutton and Selva Ozelli – COP30 Digital Ocean Pavilion
Ian Hutton explained the impact of ocean warming on seaslugs featured in his
exhibition at LDEO titled “Paradise” with Selva Ozelli which was registered at the
COP30 Digital Ocean Pavilion “Since 2013, Prof. Stephen Smith (Aquamarine
Australia) and I (Lord Howe Island Museum) have been hosting a Sea Slug Census
program a long-running citizen science project that has spread across Australia, and to
sites in Indonesia and Vanuatu, with more than 4,000 participants photographically
documenting the distribution of over 1,100 species to date. This program uses public
contributions to document sea slug distribution, providing valuable data on how these
seaslug populations are changing due to ocean warming.”
2. Healing Waters by Selva Ozelli for Global Ocean Development Forum
The main “Global Ocean Development Forum” (GODF) for 2025 took place in Qingdao,
China, bringing together nearly 700 guests from 68 countries and regions gathered to
discuss pressing ocean issues, including marine economy, technology, and ecology.
The forum’s agenda addressed a wide range of cutting-edge topics spanning
sustainability, innovation, and more, all in an effort to secure the seas for present and
future generations. An ocean-themed art exhibition was held during this conference at
the Lixian Art Museum, Shandong which featured three paintings from Selva Ozelli’s
“Healing Waters” series that was a registered COP30 Ocean Pavilion event.
The “Healing Waters” art show by Selva Ozelli is a series of exhibitions focused on
environmental conservation and the rehabilitation of threatened water bodies, of the
Chesapeake Bay, which is the largest estuary in the US and a National Treasure. Its
64,000-square-mile watershed encompasses one of the most economically significant
regions of the United States. It is protected by the landmark Chesapeake Bay
Watershed Agreement (adopted in 2014, amended in 2020) that calls for, among other
things, conservation and restoration of the treasured water, sea, and landscapes with
participation from six states – New York, Pennsylvania, West Virginia, Maryland,
Delaware, Virginia, and the District of Columbia.
Unfortunately in the 1970s, the Chesapeake Bay was found to contain one of the
planet’s first identified marine dead zones, where waters were so depleted of oxygen
that they were unable to support life, resulting in massive fish kills including the extinct
Darter Fish which is the focus of my “Healing Waters” series, so we collectively work
towards avoiding marine dead zones in our world.
Healing Waters by Selva Ozelli – COP30 Digital Ocean Pavilion
3. Ocean & River Lovers by Selva Ozelli for Havre de Grace Maritime Museum
The “Ocean & River Lovers” art show by Selva Ozelli, an ambassador to Oceanic
Global is a series of exhibitions presented globally at the United Nations Conferences
and museums to raise awareness about the climate change and plastic pollution crisis
affecting oceans and rivers.
The artwork, which includes paintings of angel fish, and discus fish, draws attention to
how marine life and ecosystems are harmed by warming waters, and pollution.
The show is part of a larger body of work endorsed by the UNESCO Ocean Decade and
cataloged by the United Nations, Tokyo Metropolitan Museum, and Berlin University of
Art.
Selva Ozelli explained why she focused on Amazon rivers’ Discus Fish in her Ocean &
River Lovers exhibition for Havre de Grace Maritime Museum registered at the COP30
Digital Ocean Pavilion “The Amazon River is home to the vibrant, disk-shaped cichlids
known as discus fish (Symphysodon spp.) These colorful fish are native to the Amazon
River basin and its tributaries, where they are typically found in slow-moving, heavily
wooded areas. They prefer warm, soft, acidic, and highly oxygenated clean waters.
Discus fish thrive on a diet rich in protein, which they forage in their specific habitats.
However, their delicate ecosystem is under threat. Climate change and the ongoing
deforestation of the Amazon directly harm these beautiful fish by destroying their
habitat, reducing their food sources, and ruining their breeding grounds.“
Ocean & River Lovers by Selva Ozelli – COP30 Digital Ocean Pavilion
4. NY’s Lighthouses by Semine Hazar and Barbara Todd for National
Lighthouse Museum
The “NY’s Lighthouses” series is by oil artist Semine Hazar and Hudson Valley
photographer Barbara Todd that celebrates Lighthouses of New York, the birthplace of
the US environmental movement, which are recognized landmarks with symbolic and
aesthetic qualities, including distinct architectural characteristics located in picturesque
settings.
The exhibition highlights important aspects of the region’s past, capturing New York’s
coastal landscapes and maritime history, as once these lighthouses played a crucial
role in the region’s maritime history, guiding ships and enabling trade and transportation.
And its adaptation to technological advances with a strong connection to the Hudson
River School, America’s first art movement, which celebrated the beauty of New York
and its surrounding landscapes that are an integral part of ongoing preservation efforts
the National Lighthouse Museum is actively involved in.
NY’s Lighthouses by Semine Hazar and Barbara Todd – COP30 Digital Ocean Pavilion
Written by: Selva Ozelli
-
Aquacultures & Fisheries1 month agoHow Tunisia Transformed an Invasive Crab into Export Success
-
News1 month agoCape Town Team Rescues Record One-Ton Sunfish on New Year’s Day
-
Aquacultures & Fisheries1 month agoHow Climate Change Impacts Rhode Island Oyster Farming
-
Issue 129 - February 20261 month agoSEVENSEAS Travel Magazine – No. 129 February 2025
-
News1 month agoThe Gulf of Gabès: A Nation Confronts Its Environmental Legacy
-
Health & Sustainable Living1 month agoHome Electric Composters Explained and Our Recommendations
-
Conservation Photography1 month agoGuy Harvey Documentary Claims Closing Night at Fort Lauderdale Film Festival
-
News1 month agoANGARI Foundation Opens Spring Marine Science Webinar Series to Public


