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First modification: 02/13/2026 - 20:01

The United States has withdrawn from UNESCO, as it has already done with more than 60 international organizations. Although it does not surprise the UN agency, its effects are felt on the ground, along with other challenges such as the artificial intelligence revolution and the protection of heritage in war zones, especially in Ukraine. To explain how this current situation is being faced, we are joined by Ernesto Ottone, UNESCO Deputy Director General for Culture.

The United States has withdrawn from UNESCO, as it has done with more than 60 international organizations. For the UN agency dedicated to science, culture, education and the environment, this is not a surprise, although its effects are tangible on the ground. Added to this are two great challenges: the revolution of artificial intelligence in the cultural world and the protection of heritage in conflict zones, especially in Ukraine, where UNESCO works to preserve historical and living heritage.

Four years have passed since the Russian invasion of Ukraine, a high-intensity conflict in which UNESCO maintains active work to protect heritage. The center of Odessa, for example, has been included on UNESCO's list of World Heritage in Danger, one of many sites that require constant surveillance, not to mention the lives that have been lost or broken by war.

With drone attacks, including in the capital Kyiv, the mission becomes increasingly dangerous. "We have learned to work in war zones, something we did not do before. Traditionally, UNESCO arrived after a conflict to rebuild. Today we are present on the ground, not only in Ukraine, but in other countries," explains Ernesto Ottone, UNESCO Deputy Director General for Culture.

Currently, the agency has an office in Ukraine with more than 45 officials and has achieved an investment of more than 56 million dollars for the reconstruction and support of museums. "But there is less visible and very serious damage. For example, attacking electricity directly affects heritage: the temperature, the conservation of works, everything is impacted," adds Ottone.

Since the beginning of the conflict, more than 623 cultural sites have been damaged, according to reports from field teams. In addition, initiatives are being developed to protect living culture: Spain has financed a cultural center in Lviv, which allows artists and creators to continue their projects during the war, and work is being done with bordering countries to keep alive the traditions of refugee women and children.

The United States withdraws from UNESCO

The American withdrawal weakens an already critical budget. During the previous administration, the US was one of the main financiers. "Today we went from 22% of US financing to only 8% in the integrated budget, which has forced us to look for other sources," says Ottone.

Despite the preparation, UNESCO faces the challenge of "doing the same thing with fewer resources," emphasizes Ottone. The agency, which is turning 75, must diversify its income, combining mandatory contributions, voluntary funds and private sector financing.

Artificial intelligence, a tool and a challenge

The arrival of artificial intelligence (AI) also transforms UNESCO's cultural work. Since 2021, the agency adopted an ethical framework to mitigate risks and reap benefits. Ottone highlights: "What previously took us three years to inventory a museum, we now do it in two months. Technology democratizes access to cultural goods and services."

However, AI raises debates about copyright, cultural and linguistic diversity, and the preservation of human heritage. In museums and institutions, it is used to restore, digitize archives and control environmental conditions of works of art, key tools for preserving paintings and sculptures.

"The advance of AI is so rapid that what we discuss today could be obsolete in two years. That is why we work so that technology is at the service of people and not the other way around, guaranteeing that authors receive fair payment and that cultural diversity is protected," concludes Ottone.

A program coordinated by Julia Courtois and Melissa Barra. Made by Souheil Khedir and Vanessa Loiseau.

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