Neal Spencer · At the Grand Egyptian Museum: New Pharaonism
The Grand Egyptian Museum, announced at the height of Hosni Mubarak’s rule and styled ‘the largest museum in the world dedicated to the people, history and culture of Ancient Egypt’, opened in November last year with a lavish ceremony broadcast round the world. It is estimated to have cost more than $1 billion ($300 million of which was a loan from Japan) and sprawls over an area the size of seventy football pitches. The financial crash of 2008, the Arab Spring and Covid meant that its construction took almost twenty years. Much has changed in that time. The last decade of construction took place under the military regime of Abdel Fattah el-Sisi, who installed one of his generals as its head – the first non-Egyptologist to direct a major Egyptian museum.
To get to the Grand Egyptian Museum, you must arrive by car or bus via the new roads that connect the edge of the Giza plateau to the gated communities and shopping centres that have sprung up in the desert. The physical separation of the museum from Cairo is a little like that of the Getty Museum from Los Angeles, but here it is not merely a matter of space or vistas. The regime is keen to keep international visitors away from sites of popular resistance and the struggle of daily life; a nearby military airfield has been turned into a tourist entry point and renamed Sphinx International Airport. The museum building, designed by the Irish-Japanese firm Heneghan Peng, is understated, slung low in the landscape next to the pyramids. Its steel-framed sloping façades are made up of triangular panels of translucent alabaster and expanses of glass. There is none of the inflated, ill-proportioned pharaonism that can be seen in buildings recently commissioned in Cairo, such as the shiny Bashtil train station. The most impressive areas, the conservation centre and science laboratories, are hidden underground. A consortium led by Hassan Allam Holding, one of the favoured corporate partners of the Egyptian military state, manages the whole facility.
I visited the museum in April and found it remarkably well laid out (as a decidely non-specialist in Egyptology or the curatorial arts) and full of fascinating artifacts. This piece raises a number of fair points, positive and negative, about the space and what story it tries to tell about Egypt’s past.