rover this video includes the moment the parachute deployed from the t on 11 spacecraft is landed last month, also shows the rosa driving on the motion surface where it's been working for more than 14 days. now, looking for signs of water or ice that could indicate whether the planet sustained life well is worn. everything we're covering here, including of course, the latest rescue and recovery efforts still ongoing, very in florida. ah, i look at the main stories now in the delta very, and continues to cause a steep rise in coven infections around the world. south africa presidents is now announced tougher restrictions as the country tries to stand. the surging 3rd wave of the corona virus, or gatherings in the sale of alco will be banned for 2 weeks from midnight's schools will close from wednesday, and 9 pm coffee will be enforced in an address to the nation in the last hour,

several rama post said a rapid spread of the delta varying is extremely serious, and the current containment containment measures are not working. we are in the grid or devastated wave that by all indications, seems like it would be worse than those that have preceded it. the peak of this 3rd wave looks set to be higher than the previous 2 waves. the 1st wave, if we recall last that 15 weeks, the 2nd wave lasted nearly 9 weeks. we don't know how long this one will last but indications that it could last longer and are all the headlines thousands of micro why? because have been scrambling to leave deck on the capital of bangladesh before

toughening current of ours restrictions coming to force. now as well. tough for locked down will close most businesses and can find people for their homes in the coming days. on friday. more than a 100 fatalities recorded, this is the 2nd highest death tell. since the pandemic began in the west bank a full day of protests have against the punishing authority of time, violent hundreds of people timed out to rally in the city of ramallah. after the death of an outspoken critic is our planet family says he was drunk from his home and peace and vice security forces. protest as our demanding resignation of policy and present might want to buy the death toll from the collapse of the florida apartment tower 3 days ago has risen to 9 with more than 150 people. still missing, rescue is recovered for more bodies from the dat brian. another pass, a new had been rescued later, died in hospital. but as the headlines for now talk to al jazeera is coming up next, i'll see later. me. ah

ah, the present trees are it has kept the record of the history of humanity through arch. we've learned the way ancient civilizations lived. how wars were fought, her political change to place. her societies were oppressed and how they rose to freedom. and one of the modern world longest running unresolved conflicts is the struggle of the palestinian people. many policy and artists have devoted their lives to portray and convey their reality. one of the most prominent painters is

madman sword. born in 1947 in brazil, palestine a year before the establishment of the state of israel monsoon, studied fine arts in jerusalem, growing up under occupation. his work 1st gained recognition at the age of 26, with the peace camel of hardship portraying an elderly bent over porter, struggling to carry jerusalem on his back. and ever since his work depicting the palestinian struggle and culture has travelled the world from him alone to london to new york. now at the age of 75, has he lost hope? peace will ever come. i'm stephanie decker. my love in the occupied west bank. solomon my food is regarded by many as one of the master artist of the 1st intifada . the 1st palestinian uprising. and it's here in the studio where brushes will paint and even mud portray mister months,

who did the vision of the palestinian people there passed their present and their future, the burden they carry and their ongoing struggle policy and artist, my, my food talks college i filaments who thank you so much for talking to al jazeera usually starts in the beginning of your career. i want to talk about the present. i want to ask you how you would describe yourself as an artist, how you would describe your body of work so far. to be very difficult and very interesting, you know, the problem in the occupied territories is that it's full of ideas. i mean full of contradictions, and that's very interesting. so i consider my work as part of the for the student people life because it reflects that life and reflects

the feelings of the people i hope so. so that's my out. i don't know what would have done if there was no occupation or if i was living in switzerland tor example or in germany i will ever but the allowed fee. it affected me a lot and effected my out. so this is very much also a personal documentation of your personal journey. it is part of this people and when, when i left a cake, the experiences that afflict my own experience of what is changed over the decades in the sense of the ground has changed. politics has changed, situations changed, has not been reflected in your work as an artist. i think sometimes i feel the difference between one time and the other. but the main thing that happened

that the feeling changed. you know, in the seventy's is there was a lot of the 40, there was a lot of hope for, for the future. and people were helping each of the left of the free work. but then when the organ, when the p, p and a started, all these feelings were lost. people change. i mean the attitude to live there, attitude to their patient attitude to everything changed. they were much more. i believe they were much more clean. they were much more sincere in the seventy's and it is a said you could find everywhere, volunteer work in municipalities and universities and to be it's everywhere.

and people helping each other, especially in the fist into father could see that feeling enough that the opposite and every one along i mean and fighting for or had on phyllis which is okay. but it's too much, you know, and there is no volunteer work at all. there's no belonging to the reality you're talking about. hope the people have change in the seventy's. have people lost hope over the decades. have you felt that due to the political situation on the ground and has that been reflected in your work? how, how was that changed? was that all the hope on the part of the hope that they have and it in the seventy's and it is but until the recent events in all,

when people saw the demonstrations and the whole world and man, man among females, living in israel. that is a lot of the hope among the people and hope would attend the cell. i didn't do any work off of that. i'm sure the next we're pretty will deal with this kind of feeling. you are an artist. what is art for you is? is it a form of release? is it a form of diary? are you trying to give a message? how would you describe what it, what it does for you inside paint? i think all of you have kind of i believe. and also tuition, well, when you don't have the homeland, when you don't have the i mean it can't be

a political think. and when people deny your existence on many, many places and noticed they, they deny your existence. so the form of the thing that we we are living here, we have long root and gives all my think to the homeless. the themes you used in your work. i do think that we just have a few of them around us here, but there is a very there is like we think it conveys strong emotion. i think looking at your work, it's difficult not to feel like what kind of message like look for example, this one. there's a lot of embrace in your work. usually online is men. here in my work, i use the symbol of the woman to reflect some of those things in one

of them is that a relation that was in the seventy's now resemble the homeland resemble the land. punish time is hugging the policy. now people enter on more or less like that, i think, to, to, to put the feeling of belonging among the listing people is very important. because without that, we are last ever seen or should they kind of don't to, to go to the policy now people to the homeland to the policy. the problem may be not to give all his life but all her life. but some, some of it you use different methods,

let's say during the 1st and the father, he started using more mud the land in terms of creating there's one painting i saw on your instagram called absent presence and you have 2 fingers and most of them are describe it to me like a cracked mud and then you just have their feet that is still sort of very powerful with and during the 1st intifada, part of that because the idea of the fist and there was 2 boy captors in the products come from. so i have 12 natural materials out be and i started working with my work for 4 and much like 15 years intensively and then i went back to painting in my career like and sometimes i have ideas and months still work in mud. but sometimes i mix the 2 together,

i do mud and then i continue to work in clinical oil. and depending on what is much convey, no mud is really sympathetic. i mean if it's symbolic for the human beings, it's symbolic for land. it isn't malec fourpence time, it's symbolic for if you, if you live with the mud for to, to dry it correct. and it symbolizes also, it kind of feeling i have getting it all done. and that symbolize is also the political condition here. that when you, wherever you go to landscape geography is fragmented. so it's has a lot of meanings and very intensive meaning over your career over your life, over the decade. the land pat,

historic palestine has been shrinking in terms of settlement expansion. is that that you have when you have one painting where you see a woman and she's standing with the policy in a flag and it's like a barren landscape. what inspires you? how? how did, how did these ideas come to you? what are you trying to convey? what happened in the recent years of making peace with some other countries? and so give, not only me about money as soon as it give them a feeling of being get on. so i got that idea of the painting from the whole atmosphere that everybody is leaving, but we are still here and we will go on with that with our frigate. that's the main idea. i wanted to ask you about that because your art has been embraced in the arab world, your famous, famous parity and painters. it's easy to buy

a painting and put it on your wall. do you feel that the arab world has somehow abandoned the palestinians a little bit at this point in time? don't believe that a word. i'm sure. there's a lot of people everywhere, the support us and the was what the, the government here on the 4th by then father or nick year. but, but this is not the, it's not easy. and it's not easy for a philistine ent see alias while doing something mentally while trying to bring down docs and wash while killing people here and occupation. and then they go and be embraced and outcomes to sort

of come to us to see that. and it makes us very sad, but the unsure the people in general don't feel like there again for me. you mentioned alone when it comes to being a policy. and is there a loneliness to being an artist? of course and of this t will extend on the studio alone that how do you know loneliness is part of the production. but to go to italy. loneliness comes in, you know, not only the artist long enough but life in general. and i think that's why many people say that my sad, depressing sometimes about because it's not easy to live

and such as tuition like we live here. it's a lonely situation. sense tuition. and they reflect that. do you feel you have a responsibility as an artist because of exactly who you are and what you live? you and the rest of the palestinians to reflect? what is incredible powerful emotion that you managed to convey through your work? is that, do you feel? is that a burden or is that something that enlightened you when you create affect my my up to i feel as i feel my own creation, the charges or power that i put in my, in my work. and i work on attempting like one week very that have been sticking, leaning on, trying to do all of the shapes and putting them to there is any creativity. and that's the last moment. and the last hour when, when,

when i sit in touches on the 5th and killers, i think this creates the part of that is in the painting. this is the creativity that i put in the painting. i also feel a kind of responsibility as an artist and as a well known artist, i'm among the listing people. i see little responsibility to reflect the life of the people and to health and getting us free. and they tell you it's not easy. it's not a nice feeling to have this obligation sometime i wanted, i want to think that it will be much easier if i am a teacher or an architect or whatever, you know. but because sometimes the feeling that you have

and the built and that you have to do things, is immense. and failing the concept. looking at your paintings, your most famous painting that you were saying initially got sold, ended up in the hands of one mcguffey, correct. the camel of burden, the painting disappeared. in $9697.00, we started documenting for pick up and i thought that would be a good idea to document that we have course on. so we contacted, contacted that live in person, non men and in london. and the promise to come back to me after one week, something like that, they came back to me and they said there is no painting. this appeared to fix it,

fix them because one, bob. bon bonded bella of conduct him. and so we put one on we nearly believe that the towards destroyed during that one. but some of your work or at least i suppose how it's been lost, represents regional, the regional history, the regional politics. there's another piece i was reading about, which is called woman breastfeeding. she's breastfeeding and she's holding a gun. that seems to have disappeared as well. yes, we're in rotan, i think 77 and i just started something called museum for the ballistic people. and they got a lot of donations from many up the whole world and also from palestine up to sunday. and there to at least 3 or 4 paintings for that museum. and

also at that time, we were part of the union, a police officer and been rude. so we used to send them to exhibit them with them. that was other testability, not just and then the war of it to happened, occupational but bombardment of money. but as soon as the 2 sons, including the museum for, for, for the philistine and people and also the headquarters of the union of policy not, not to so many of the pity that we have destroyed. and the paintings that were not destroyed, they were told and the people took took them away. but also some months before the vision of the they rode the organized and exhibit in iran,

of our paintings and they send them. and then when the law happened and the lift they wrote, and so the paintings are still in iran and you can't get them back. do you know where they are? and the museum, the museum of thought. but they wouldn't listen. you know, that kind of been cryptic thing, you know, we didn't get them from you. we got them from other people and they're not there anymore. so we left many paintings in italy. we made several exhibitions in italy, and most of them are lost many, many pacino's. there were also we left many works and a big exemption was bent and in 79 . the problem is that we didn't documents

many of the fan things that were lost here and there and then, and besides the manufacturing rhetorical accepted by the, by the authorities bank. i guess these really confiscated your work as well. it confiscated from me like 4 or 5, pending from other up to like this or more. there was no rule about what kind of thinking should be configured is until 1981 when they give us this or that about not not allowing us to print in black and white. so this kid fencing that have this color in them. can you paint without this color? not really is at that time and for a couple of years,

most of our paintings will read and red, green, black and white. the concept we were talking about your most famous work, the camel of burden, the concept of burden the concept of hardship. and it's impossible not to look at your paintings, whether it's in real life, whether it's on your instagram feed and not feel the emotion. and the pirate conveys of, from what i see is incredible sadness nostalgia. it's very rare to see real hope and positivity in your work. how difficult has that been for you to live, to live it and obviously it's emotion you you conveys so well to the outside. you know, looking back at my life and the feelings that they have about all this kind of tuition, we live in it not only had and it's not the only depressing and it's not only have

a good. and it's also humiliating, you know, and him, and lot of people and, and, and i know, you know, because right, and a lot of studies about policy and embroidery and about a lot of culture. so it's culturally non, we need people and somebody comes from poland and didn't know format and say there is no policy in people and the take your land terminating. and so the humiliation that is in that unless fear besides all these things and you feel you will have to get rid of that to you. and as an artist, i've treated it as a burden on me to work for that him because it's

a very difficult him. so the building that i feel and the burden that everybody who deals with this kind of freedom problem of the philistine as the and heavy and failing when later officer he told us that we are not allowed to print and read in black and white. he played before that to convince us to paint flowers and nicely it is and on i think what i will bit in the future after we get the art freedom is flow nicely this. do you expect to see that in your lifetime? freedom to tell you the truth, i think i was born here before efficient for an extra

and i don't know all the time. i believe until now that i will die one day and before we get treated. thank you so much for talking county. most. ah, i lose it's just again, it's a way of life. every, every shows, every day brings us together with miles. so we can say we would,

we flew every month and going with a game together. it's more than just the game. on counting the call to focus on nigeria to recessions and for years growing insecurity and unemployment, oil companies packing up and leaving even the threat of piracy in the gulf of getting just what nigeria needs to do to confront multiple challenges. counting the call on al jazeera with bang energy and change to every part of our universe or small to continue the change all around the shape, my technology and human ingenuity, we can make it work for you and your whole

team in the city in vietnam. once so i gone the old capital of san vietnam at its heart. his love song square, where journalists, diplomats, military staff and spies rub shoulders in its famous hotels during the vietnam war . i was assigned to yet by the associated press. and i arrived june at 1962. the caravel hotel burst under the headline in november 1963. when there was a number to recruit 8, which led to the assassination of the president and his brother. over a 24 hour period, the center of saigon was a war zone. the press retreated, in effect that the caravel hotel. and many of the story is mentioned we were saying was from the care of me.

ah morning allow government al jazeera as a, you know, i me hello, i'm marianna marquee in london, our main story, delta very continues to cause a seat rise and cove infections around the world. south africa, the president has just announced confir restrictions as a nation attempts to stem a surging 3rd wave of the virus, or gatherings on the sale of alcohol will be banned for 2 weeks from midnight. schools will close from wednesday at 9 pm curfew will be enforced in an address to the nation. so around the process that the rapid spread of the delta variance is very serious. and current measures.