CNN
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Ukraine’s large-scale drone attack on Russian air bases thousands of miles behind the front lines is the latest in a long line of daring missions by Ukraine’s forces against its giant neighbor.

The operation, more than a year and a half in the making, involved drones being smuggled into Russian territory and hidden in wooden mobile houses atop trucks, according to a source in the SBU, Ukraine’s domestic intelligence agency.

The strikes caused an estimated $7 billion in damages and hit 34% of Russia’s strategic cruise missile carriers at its main air bases, the source said. The assault also showed that Ukraine still has the ability to pressure Russia even as Moscow ramps up its own attacks and offensive operations.

Here’s a look at some of the Ukrainian force’s most significant hits during the war:

Analysts have called Ukraine’s Sunday drone attack on the bomber bases the most significant by Kyiv since the beginning of the war.

More than 40 aircraft were known to have been hit in the operation, according to an SBU security source, including TU-95 and Tu-22M3 strategic bombers and one of Russia’s few remaining A-50 surveillance planes.

The Tu-22M3 is Russia’s long-range missile strike platform that can perform stand-off attacks, launching missiles from Russian airspace well behind the front lines to stay out of range of Ukrainian anti-aircraft fire.

Russia had 55 Tu-22M3 jets and 57 Tu-95s in its fleet at the beginning of the year, according to the “Military Balance 2025” from the International Institute for Strategic Studies think tank.

The Tu-95 joined the Soviet Union air force in the 1950s, and Russia has modified them to launch cruise missiles like the Tu-22.

Military aviation expert Peter Layton said the loss of the bombers, which could carry the heaviest and most powerful cruise missiles, mean Russia will need to rely more on drones for future attacks on Ukraine.

Outside the immediate air war, the attack on the air bases will be a major distraction for Russian President Vladimir Putin, said Carl Schuster, a former director of operations at the US Pacific Command’s Joint Intelligence Center, now a military analyst in Hawaii.

“Putin will direct more resources to internal security after such a domestic security failure,” Schuster said.

“Ukraine was able to deploy dozens of containers with drones to within line of sight of major Russian strategic bases and launch massive air strikes. Can you imagine explaining that one to Putin?”

One of Ukraine’s first major wins was the sinking of the cruiser Moskva, the pride of Russia’s Black Sea fleet, in the early months of war.

The Moskva was one of the Russian Navy’s most important warships and its sinking represented a massive blow to Moscow’s military, which at the time was struggling against Ukrainian resistance 50 days into Putin’s invasion.

In April, 2022, Ukraine’s Operational Command South claimed the Moskva had begun to sink after it was hit by Ukrainian Neptune anti-ship missiles.

Russia, meanwhile said a fire broke out on the guided-missile cruiser, causing munitions aboard to explode, inflicting serious damage to the vessel, and forcing the crew of the warship to be evacuated.

Analysts said its loss struck hard at the heart of the Russian navy as well as national pride, comparable to the US Navy losing a battleship during World War II or an aircraft carrier today.

What followed was a string of naval defeats for Moscow’s Black Sea Fleet.

In early 2024, six sea drones, powered by jet skis, felled a Russian guided missile ship, the Ivanovets. Night-time footage released by the Ukrainians showed Russians firing at the drones as they raced toward the Ivanovets, before at least two drones struck the side of the ship, disabling it and causing massive explosions.

Singapore
CNN
 — 

Before the ravages of World War II, Paris was the center of the art world. The city’s salons, schools and cafes attracted painters from around the globe, with Pablo Picasso, Marc Chagall, Piet Mondrian and Salvador Dalí among the many émigrés gravitating to France’s capital during the 1920s and ‘30s.

Artists arriving from Asia, however, faced a very different set of expectations than their European counterparts. Paris may have been a melting pot of foreign cultures (by the standards of the day, at least), but it was also the heart of a colonial empire with a fascination for all things exotic.

“It seems that oil is a medium that is too heavy for their hands,” French art critic Henri Lormian wrote dismissively of the Vietnamese painters on show at a modern art exhibition in Paris in 1933. Instead, they were “habituated to light strokes of the brush,” he argued, adding: “It is the memories of the arts of the Far East which seduce, much more than a laboriously acquired Western technique.”

In other words, their art was not “Asian” enough, nor their attempts to embrace European art good enough, for his liking.

Amid marginalization and disinterest, a generation of little-known artists from Japan, China, French Indochina and elsewhere in Asia nonetheless made their mark on Paris in the interwar period. Many were compelled to balance the influence of their cosmopolitan surroundings with the exoticized tastes of potential customers.

Now, a century later, some of the era’s pioneers — aided by Asian collectors’ growing purchasing power — are belatedly earning the kind of recognition bestowed on their Western contemporaries.

Take Le Pho, a Vietnamese artist whom the critic Lormian had once disparaged over a nude painting he deemed “too occidental” — too Western. His paintings now fetch sums exceeding the million-dollar threshold, making him one of Southeast Asia’s most bankable names. His “La famille dans le jardin,” a leisurely scene evoking French Impressionism but delicately painted on silk, sold for 18.6 million Hong Kong dollars ($2.3 million) in 2023, an auction record for his work.

Then there’s Sanyu, a painter whose signature nudes — their flat perspective and flowing calligraphic lines informed as much by his Chinese art education as French modernism — now attract astronomical sums. He achieved little commercial success after moving to Paris from his native Sichuan in 1921 and died in poverty four decades later. Today, however, he is hailed as the “Chinese Matisse,” with the 2020 sale of a rare group portrait, “Quatre Nus,” for 258 million Hong Kong dollars ($33 million) confirming his status as one of contemporary art’s most coveted names.

The experience of Asian artists in Europe is also attracting renewed academic interest thanks, in part, to a new exhibition at Singapore’s National Gallery. Almost 10 years in the making, “City of Others: Asian Artists in Paris, 1920s-1940s” brings together more than 200 works from the period, many on loan from French institutions and private Asian collections.

Le Pho and Sanyu feature prominently, as do Japanese artist Tsuguharu Foujita and two of Singapore’s best-known painters, Liu Kang and Georgette Chen. The show spotlights how they grappled with their identities through searching self-portraits, landscapes depicting their adopted homeland and street scenes showing Paris through outsiders’ eyes. References to major Western art movements like Cubism and Surrealism are meanwhile limited, eschewing the conventional lens through which the era is usually viewed.

“We thought, ‘Well, if our story is about Asian artists in Paris, we should map their concerns, not try to map the concerns of Eurocentric art history onto them,’” the exhibition’s lead curator Phoebe Scott told CNN at the preview, adding: “Otherwise, we’re just reiterating the significance of Paris without giving something new from our region.”

The artists’ dual identities are often expressed through the combination of Eastern and Western techniques. Foujita’s “Self-Portrait with Cat,” which depicts the artist surrounded by paint brushes and supplies in his studio, nods both to European and Japanese traditions, its fine lines informed by “sumi-e” ink paintings. Elsewhere, works present various Asian sensibilities, from compositions evoking ancestral portraits to the use of unusually thin canvases reminiscent of paper or silk.

Other paintings demonstrate the artists overlooked mastery of styles like Impressionism. A selection of Chen’s rural landscapes, produced on a trip to Provence, ooze with the warmth of Paul Cézanne; Japanese painter Itakura Kanae’s striking portrait of his wife, “Woman in Red Dress,” reflects the classical tendencies of “rappel à l’ordre” (or “Return to Order”), a French movement that responded to the upheavals of World War I by rejecting the avant-garde.

As well as absorbing influences, Asian artists in turn shaped European art, said Scott. The Paris scene had a “hybridizing aesthetic,” she added, citing the influence of African art on Picasso’s oeuvre as an example. And the presence of Asian painters added to the cultural mix, tapping into the longstanding interest in orientalist aesthetics evident in the “Japonisme” of the late 19th century, when a fervor for Japanese art, furniture and artifacts swept Europe.

“It’s difficult to say that any individual modern Asian artist who came (to Paris) influenced French art,” Scott said. “But was there an Asian impact, in general, on French art? Absolutely.”

For France’s more established Asian artists, life often revolved around the multicultural Montparnasse district, home of the so-called School of Paris.

They shopped for supplies in the neighborhood’s art stores and networked in its bohemian cafes. It was here that Sanyu refined his observational skills by attending open life drawing sessions at the Académie de la Grande Chaumière (which, to this day, welcomes the public to its walk-in life drawing classes for a modest fee).

Foujita, meanwhile, was a prominent figure in the Montparnasse scene and a friend of the celebrated Italian painter Amedeo Modigliani, among others. The community there comprised “people of over 50 nationalities, including those from countries so obscure their names are barely known,” Foujita wrote in 1936. “It is no wonder this environment fosters unconventional ideas and creativity.”

There was a commercial imperative, too: Showing at the district’s commercial galleries and salons could help artists sell work or meet potential buyers. A local market for their art existed, and some were “very financially successful” at the time, Scott said, adding: “But Paris was a crowded market for attention. Even if you got a commercial show, it didn’t necessarily mean that you could make money.”

Forging a social circle like Foujita’s was a “key factor” determining their success, said Scott. “Some (Asian) artists had a very good network of connections in Paris that could support them — people they knew, or art critics who would champion their work.”

Yet, solo exhibitions and patronage were out of reach for the vast majority of migrant artists. In recognition of this, a section of the Singapore exhibition is dedicated to the artisans who worked in France’s decorative arts workshops, playing an important — but largely anonymous — role in the Art Deco movement. An estimated one-quarter of Indochinese workers living in Paris were lacquerers, and a selection of their jewelry and objects d’art are displayed as testament to this uncredited role.

The exhibition ends — like some of the international artists’ time in France — with World War II. Those who returned home (or were drafted by their countries) often faced difficulties returning. Among them was Foujita, whose place in art history is complicated by his role in Japan’s war effort: He dedicated his wartime practice to glorifying the efforts and bravery of the Imperial Army, severely hampering his reputation upon his return to France in 1950.

The reputation of Paris changed, too. Although promising Asian creatives continued to arrive in the post-war period (among them were Wu Guanzhong and the abstract painter Zao Wou-ki, now two of the art market’s biggest-selling names), the city was no longer the epicenter of the art world. New York was increasingly the destination of choice for budding young migrants, but the industry was also, the exhibition argues, becoming more fragmented, a precursor to today.

“New sites and hubs gained in significance with the energy of decolonization, asserting their independence and cultural identity,” the exhibition notes read. “The post-war period marked the beginnings of a less hierarchical global art world.”

“City of Others: Asian Artists in Paris, 1920s-1940s” is showing at National Gallery Singapore until Aug. 17, 2025.

Hong Kong
CNN
 — 

China has accused the United States of “provoking new economic and trade frictions” as it responded to US President Donald Trump’s claims that Beijing had violated a trade truce agreed by the two nations last month, which paused their blistering tariff war.

China was “strictly implementing” the consensus of those trade talks, the Chinese Commerce Ministry said in a statement Monday, while blaming the US for taking steps that “seriously undermine” the agreement.

“The United States has been unilaterally provoking new economic and trade frictions, exacerbating the uncertainty and instability of bilateral economic and trade relations,” the statement said.

“If the United States insists on its own way and continues to undermine China’s interests, China will continue to take resolute and forceful measures to safeguard its legitimate rights and interests,” it added.

The comments come after Trump on Friday said China had “TOTALLY VIOLATED ITS AGREEMENT WITH US.” In a post on Truth Social, the US president said that he made a fast deal with China to “save them from what I thought was going to be a very bad situation.” He added: “So much for being Mr. NICE GUY!”

The back and forth spotlights a ratcheting up of tensions between the US and China just weeks after the two sides reached the surprise trade truce in Geneva, which significantly dialed down the hefty tariffs that each imposed on the other in April.

That agreement gave the two sides a 90-day window to hash out a broader deal, an effort that now appears imperiled as each side accuses the other of working against the spirit of that agreement. US officials have described talks as “stalled” and suggested that the involvement of Trump and Chinese leader Xi Jinping is needed to jumpstart progress.

A key point of contention has been Beijing’s export controls on rare earth minerals and associated products, which were imposed as part of its retaliation against Trump’s “reciprocal” tariffs on Chinese goods.

Following the talks, US officials had expected China to ease export restrictions of those minerals, which are an essential part of everything from iPhones and electric vehicles to big-ticket weapons like F-35 fighter jets and missile systems.

But the restrictions haven’t been lifted, causing intense displeasure inside the Trump administration and prompting a recent series of measures imposed on China, three administration officials told CNN last week.

Meanwhile, Beijing accused the US last month of “undermining” the consensus reached in Geneva, after Washington warned companies against using AI chips made by its national tech champion Huawei.

In a further escalation of tensions, the US then last week also moved to limit critical technology sales to China and restrict the number of Chinese students studying in the US –spotlighting how the scope of their competition is much broader than just trade.

In the Monday statement, China’s Commerce Ministry hit out at these measures, saying the US has “successively introduced a number of discriminatory restrictive measures against China after the Geneva Economic and Trade Talks, including issuing AI chip export control guidelines, stopping the sale of chip design software to China, and announcing the revocation of Chinese student visas.”

Beijing, as well as other Asian capitals, is also feeling the pressure of trade frictions at home. China’s manufacturing activity shrank for a second month in May, an official survey showed on Saturday. Tariffs imposed this year on Chinese goods entering the US, its largest export market, currently stand at 30%, not including any pre-existing duties.

Trump administration officials have homed in on China’s controls on exports of rare earths in their assessments of China’s compliance with the agreement reached in Geneva.

The deal saw the two sides dial back during the 90-day grace period mutual tariffs that had soared to well over 100%. It also included an agreement from China to “suspend or remove” non-tariff countermeasures taken against the US since April 2.

China on April 4 imposed export controls on seven rare earth minerals and associated products in what was seen as a retaliation against Trump’s duties on its goods. Its export control regime does not ban exports outright but requires government approval for each shipment regardless of destination, enabling greater control over a supply chain that China has come to dominate globally. That system appeared to remain in place last month following the talks, CNN reporting showed.

During an interview that aired Sunday with CBS’ Face the Nation, US Treasury Secretary Scott Bessent said China was “withholding some of the products that they agreed to release” in Geneva, referring to critical minerals.

“Maybe it’s a glitch in the Chinese system, maybe it’s intentional,” he added, noting that the issue would be “ironed out” when Trump and Chinese leader Xi Jinping have a call, which Bessent said he believes will happen “very soon.”

The two leaders are known to have last spoken on January 17, days before Trump’s inauguration.

China has defended its export control regime, describing it last week as “in line with international practices” and “not targeted at specific countries.”

When asked about its export controls on rare earth minerals, part of a wider category of critical minerals, during a regular press briefing Friday, a spokesperson for China’s Ministry of Foreign Affairs said Beijing was “willing to strengthen dialogue and cooperation in the field of export controls with relevant countries and regions.”