death in 2016 abrams has even found a leftover material from the last 2 films to bring her back as princess wei. so how will the age old battle between the satellite and sit at and which skywalker will rise in the rise of skywalker with the release of episode 9 fans can finally find out. this is did of you news live from berlin i'm brian thomas for the entire news team thanks so much for being here. it's all happening good job with. your link to news from africa and the world your links to exceptional stories and discussions can you and will come to the debut suffocating program tonight from funny journey from the use of easy to our website didn't close match africa joined us on facebook and t.w.

africa. from giant rats made of polyester. to lashings of synthetic resin. the big name contemporary artists are radical purveyors of pushing back the boundaries of convention. very early on i was yours are going to turtles that were non-controversial a large news motor or dirt dust action. how do you deal with unstable materials. i'm not talking to question about how to conserve my work. i'm talking about how i'm making it. today the entire art world faces a huge challenge in how to preserve contemporary masterpieces many of the un orthodox materials used. are not designed to last forever. german conservator

christian shite a man is the go to man in this field. his new york studio deals with many of the most important works of our time. leading galleries multimillionaire collectors and many of the world's top living artists all seek his help. christian chinaman opened his new york studio in 2002 but his career started in the german city of hamburg his 1st restoration studio was on the flight until an island surrounded by canals in a beautiful old building. on november 9th 1909 the same day the berlin wall came down a huge new exhibition space open in hamburg the dutch to holland became a leading center for contemporary art. that's it suddenly we have these 2 halls in

hamburg that were dedicated to large scale exhibitions of contemporary art and art restorers found themselves facing new demands like how can i conserve a loaf of bread that's part of an exhibition what do i do when i need candy that always needs to look original even 300 years from now and what we did not always didn't let on all in the io. because christiane was the right man at the right time with his natural curiosity and enough fixated on old techniques and ways of thinking. there was one tragic mishap involving a washbasin by a hole but. a child evidently thought it was a real sink and wanted to swing on the edge of it so it ended up broken and christiane was called in he went to go bare studio in new york and i think that was his 1st foot in the door to the new york art world's. majok a quince to vote tory but my work at the dosh to holland in hamburg brought me into contact with

a range of artists it was very inspiring and these artists would ask me questions that no one in hamburg had ever asked before. like how do i conserve bananas. i found it really interesting. so through dr harlan i got to know a lot of artists and the wider art scene i mean i remember going along the street in hamburg one day and getting a call from david. and he said we need someone like you in new york. do you fancy coming to america discerning just now i mean you've got to. start really going after an obviously it's wonderful to visit all the art studios here in new york and to be involved in the production of these works the research for them and ultimately conserving them to. do. but. christian chinaman loves getting on his bike and writing to his studio in chelsea but these days he's often traveling the globe advising artists during the creative

process or seeking to rescue a piece that's been damaged. you know they can start generally artworks come to our studio just before they're about to change hands. so we have to be very discreet because obviously no collector or auction house wants to see their works in a restoration studio or monosodium studios in. these days art is often produced in a very short space of time but conserving it is painstaking work that requires a lot of devotion schneiderman works with a team of highly specialized conservators. it's a really amazing place to be work comes here to the studio is not just a monetary value but it's also got an emotional value as far as monetary value we try to remain on the sly as much as possible because for a conservator to do their work properly it doesn't matter if the work is from

a junkyard or if it's worth $10000000.00 you still have to execute the same sort of treatment. today a work but on vogue american artist way gotten has arrived at the studio. he creates his large scale works using inkjet printing. many are displayed in art museums. came from germany and the crate was never opened apparently and then this happens to fall on the head of. the 5 fans. of the painting it looks pretty severe to me someone inside the crate i can fix it. then i. feel these precious part of it yeah it's the. it's mostly in the right. of the word on the top. yeah it was an unstable climate or so so you make some

steps sounds good but. there's also this misconception too that things come here only if they're broken and that's not the case often things come here just for a commission report are things come here to be cleaned or you know just to be freshen up which isn't necessarily. again you know so it's a one stop shop where. we do it up it is its arsenal i've done this drawing that illustrates the path taken by an artwork from the artist's studio to the museum so . it includes the individual stops which usually involve a freelance conservator at some stage so ardor of. the work is born in the artist's studio. many contemporary works comprise experiments with untested materials. the artwork then leaves the studio.

for the 1st time it's now in the hands of people outside the studio presenting a high risk. at this stage changes can still be made. the photo for a catalogue then documents its original condition. whichever gallery puts the work on the market decides its future fate. it might find a permanent home in the house of a collector but often artwork. bought as an investment and spend their lives in storage. combined storage with display for art experts. if the work gets purchased by a museum the museums and restores take care of it. if an accident at any stage causes irreparable damage the work and up an insurance company storehouse ending its life. on as the stations that an artwork passes through from artist studio to museum are

a source of danger but also of joy for the artwork some artists say their works get better treatment than they do. for the museum of modern art in new york the ephemeral nature of many contemporary art works is a major challenge. it's thrown up new questions for the museum's chief curator for painting and sculpture and. whole new phenomenon over these last couple of decades which christian represents absolutely of close collaboration in the creation of the artwork many artists really are consulting with conservators before or during their making work and in the olden days that would not have been true. christian chinaman is a frequent visitor to los angeles an important center for arts. today he'll be

working for paul mccarthy. his task to conserve desert dust on a sculpture by the american coast pop artist. mccarthy rose to fame through his provocative performance art. not the other nonce i 1st met mccarthy in 1903 during the post-human exhibition in hamburg in the dive to holland i'm amazed at the creations that he and his sizeable team come up with the ones i'm most with team mom. this is paul mccartney's version of a pirate ship. and here he's created a traumatized version of disney's 7 dwarves. they have a somewhat demented look as they stare back at their observers. this culture references westerns again he distorts the myths of american movie making. mccarthy's team numbers up to 40 people and includes sculptors

engineers and carpenters who turn his visions into reality here a group of experts are working on a silicon replica of mccarthy's own body. will you use the technology part of that motion picture industry and also theme parks all those kind of stuff it really functions work on the people and ball. i have sympathy and interest in the art. what. is some degree it's it has to do with obstructing the normality or for bringing a form an expression about the absurdity of existence. one of the pieces are inches from my film that i may live cast and cast with

still a poem and then put skeletons when i'm so. move we'll use them in the films and sort of film doubles for certain actions and especially action was involved. in that process we filmed in the desert and dust gets all over. all over fake blood the question then began to be those objects the solar columns could last platinum solar. feel rather clay should have a really indefinite life but they would get in the dirt in the dos. became like do i try and preserve this. physical yet so if the money just as you can conserve mat surfaces on paintings we're trying here to conserve that surfaces on sculptures and there are ways of doing that. and here i know the whole thing

reminds me of yves klein paintings which often have very powdery surfaces. here and we're trying out a medical nebulizer. in this case we're putting in sturgeon glue dissolved in water . that will be vaporized in the air and then very slowly settle on the grains of dust and link them with each other so that they don't immediately fall off and you might even be able to touch them. he was the 1st conservator i ever really approached he was a conservator there was interest a lot of the issues that were being brought up by temporary art of the road to joe's a boy is in flux a storm the things are the kind of materials that were being used. in a way come out of production to.

be. done. he. spoke. to robert. let's not lose. but that's all of that. is all true. and this and. the. trump beautifully.

is a pretty little. scene. our . next christian chinaman heads to brooklyn to visit up and coming artist ryan sullivan. for the 1st time he's going to be on hand as sullivan creates a new artwork allowing him to study how the materials behave during the process. of every day when you think just. got the most ready and i'll put him to anchor. let's take a few. ryan sullivan turned to shot him and to get a better understanding of the chemical reactions involved in his paintings. he's left a number of works to dry overnight. using paint brushes he applied resin mixed with color pigments into silicon moments. every morning we take them out of the molds and flip them over and so bats the 1st time that we see the face of the

painting. i used to hold the big is the rez it is toxic. or like a minute silent and when i start working yes the machine start the fans the machines come on and i don't think it's. intentional. thing that i batted but may be subconsciously these things become part of. the headspace. as my working moms were.

in school for calm and gold mongst painters the late sixty's to assert the relevance of painting and the power of painting despite the fact there's been a lot of criticism about whether a painting is still valid medium to use. this was a back trip. so you direct it but then it gets something out of the. grips. oh but there's a. related and so over the silicone that they said so so i i must be a sceptic to see what is that in the beginning of count i say they do that eating it move around a little bit but it's almost like my theory being that you know that that is puppets of it's coming out.

when work such as those by sullivan are transported special attention has to be paid to the materials they contain. the crows your company is a specialist in this area and like shot him in studio it's based in the new york art district of chelsea. most accidents occur during transport because of the size of the works there are enormous value and the delicate materials involved transporting them as a major operation. by one of the people that goes out on the trucks and 1st hand takes artworks and stalls the tags the commission reports so we meet with clients and problems all the difficult things out there and come up with trying to move something really valuable and difficult to handle.

many contemporary art works today show gold but they won't fit to majority of their calls for international travel but they sometimes don't fit in even the launch of trucks that we use so we often look to other industries to learn lessons whether it's an extreme case you look to hell not so move some of their launcher i change around whether it's stoplights or whether it's for other rockets. i have studied sculpture but i do photography and performance based on. my vocation is to be an artist you know for now i'm just a creator crozier prefer people or artists because they may already have the experience with handling work. once these objects give her way into their boxes i always kind of wonder when what he wants to see will be. a gallery shows the artwork in perfect

condition and ideal surroundings. in order for that to work the artist and the gallery have to trust each other. the gallery which operates on 3 continents represents british artist chris ofili. he was the 1st black artist to win the prestigious turner prize. ofili became famous for using elephant dung in his paintings shadowman has been advising him for years on how to work with this organic material. oh feelings exhibition paradise lost takes visitors on a journey through lost innocence alienation and desire. a little bit of a new direction in the work and in terms of black and white power. they seem very abstract patterns you can't really enter the cage so we're looking from the outside and we have these beautiful murals that are behind us but they somehow

mirror some of the imagery that we see within the fans there for individual works and ultimately it will probably make their way to my walls through. the actual explosion of the art market has made conservators in particular christian increasingly needed as a conservator is in demand now all over the world and so it is now working with a number of collectors who really want them to have a look at anything they buy before they actually make the final commitment and he maintains. advises them on storage and transport and also work philosophical intellectual aspects of related artists' intentions. because. this is a watercolor by chris ofili that he gave to me. and

it's very nicely frame from the back with a dedication. of mine thanks to sell all you continue to support. what chris. and doctors have basically traveled all over the world visiting various collectors to stabilize their pictures because everywhere there was elephant dung that was slowly coming away from the layer of paint and causing breaches. push it was the companies here the pictures are propped up against the wall standing on elephant dung that has been soaked in resin. it's a twinked is innocent think this and for chris it's important that it's not just any elephant dung but specifically from elephants in london zoo. and once when he was here you go down the names of the elephants that he collaborates with as it were. young

long. money. and of course that creates a personal link with this dung. chris doesn't see it as excrement at all. but as an important means of orientation for nomads in the desert prefigures. for no martin and to this is also doing my bit for this it's also an important building material for nomads and it's used for making a fire too much. in a way it's almost like a fashion country doctor who makes house calls he likes to touch the object is not afraid of the object i've noticed that when he is shown something that for which you know we we need his opinion he'll touch it he's not going to focus finger on it but he wants almost like someone a good medical examiner will or will touch and and really feel the patient.

in her work strange fruit named after the song by billie holiday installation artist zoe leonard explores the fleeting nature of life following the tradition of vanita still life paintings in the early ninety's she scooped out the flesh of $300.00 pieces of fruit and then sew them back together with needle and thread. and the by these of the original banana skins that she stitched back together. this is an orange. the work was inspired by her friend david voight norwich who had died of aids. and then she heard that we're able to conserve food so she got in contact. and. we did all kinds of tests and after 2 years of correspondence she decided to just leave it instead. informed christian of her decision in

a letter. as for the fruit i did sleep on it and i reached a decision i'm very pleased about it i decided that the fruit should be left to disintegrate slowly. i thought of many other thing about saving the skin after the fruit is gone decorating death. that there is something pathetic and something beautiful in our need to preserve. private art collectors also faced the question of what to do about perishable materials. krauss and her husband are collectors of contemporary art she doesn't seek expert advice when buying a work preferring to follow her own intuition instead. she says her artworks are like members of the family.

this is nicole lives in men where i live about this is. the artist's studio into our apartment this is got issues that are difficult to deal with as a collector i mean the stacks like the tube of paint goes through the hole in the floor lots of organic materials and things that over time will definitely. it's challenges we have a lot of things in our collection that are definitely major tiriel that are not. conservation happy christian and i have really bonded over the years over things that are difficult we're going to walk into the living room and i'm referring to this from is my garbage trim all the artwork is made with detritus so things that

have been sort of thrown away and green used by the artist there are problem children and and i referred to the earth's whose children because they are temperamental like little kids start now on to another possible step in the process the shallow end basel switzerland. run by the head talking to moran architecture firm it has a unique concept it's a storage place for art but here the works are not stowed away in boxes they're put on display in rooms offering the ideal climate conditions. this allows experts to study the originals and observe any changes. so not just the show naga is an open storage space for arts unlike other storage options the art here is not packed away but unpacks one problem that a lot of museums face is having to lock away many of their works. the advantage

here is that you can constantly work with the collection even if it's not being made accessible to the public. this is a mana graphic storeroom for matthew barney barney works with a lot of new materials so enabling the works here to be studied intensively and checked regularly represents huge progress. at least 6 often matthew barney is often inspired by materials that are intelligent or that have certain abilities that makes it really interesting for the conservator so i think he's a real master of the linguistics of materials stick. in. the the darling of the new york art scene plays the leading role in his famous film project the cream master cycle. it's a mixed media project involving

a suite of 5 feature length films with related sculptures photographs and drawings . is it for free and they could just i think he produced about 10 copies of the film series. everyone who buys the films gets a glass showcase which i think is wonderful a showcase with this culture and this d.v.d. . is this one is aqua plastic so each cream master has a different material as the protagonist. so the protagonist is not a human being but immaterial. to d.v.d. this is the d.v.d. case for cream master 2. and here you see the artificial honeycomb made of wax. you can see there are some darker things and a collector asked recently whether it ought to be cleaned. then i had lunch with

matthew and he said oh yes i remember we put nutmeg in there to simulate the pollen collected by the bees and bean soup and. duchamp pivoted the history of modern art away from some kind of insistence of the role of the artist's own hands in the making of the object still today there's somehow a premium put on something coming from the 2 hands of the artist and this is very very very old fashioned at this point you can have the artist studios. which really don't need to even be anything because the artist could be on his or her laptop on a bus and then you have also artist studios that are full of rows and rows of workers as if it were a bank on their computers figuring out sketches diagramming looking up things on

e bay so there is no one. artist's studio. i know it was always one of my dreams to be able to work on pop art so i was very happy to be asked to work with james rosenquist and his the state stage. rosenquist was one of the great protagonists of the pop art movement his widow meenie thompson is now responsible for the many works he left behind works dominated by the themes of advertising and the american dream. we have a lovely team that works together and try it we try to imagine what jim would want to do as far as exhibition. selling more and. storing work and everything so. i don't think we can actually be his voice but

the next best thing which would be some somebody who cares about the work and really tries to imagine what he would do if he were in our situation so. it's. is that's not an easy role. mimi thompson pays a visit to what used to be her husband's favorite diner. the walls are adorned with a number of rosenquist paintings in tribute to the great artist. in 2017 shadowman studio prepared a large selection of rosenquist paintings for a retrospective in germany. morocco penya was charged with cleaning the works. without making them look new again so as to retain the sense of history. i haven't seen in this beautiful glowing story because i mean so this edge here is

not yet cleaned and you see a thing of mars and the abrasion of the different panels and. and the clean this. kind of pressure and i know they are posing in conditions at the moment is that the nice thing about all these works is that you still see the history if you didn't advocate the history you know it would have lost aura of this is from the seventy's and we all know different pieces of information so it's great when we all get together and talk to every writer yes. you know which is so important. that would be a great thing we haven't gotten that. question. jim would love to see them. right now they are. looking so good and. you know those are just you know you know. we've been talking to you. every day

from. accidents can be extremely expensive especially if the work is damaged beyond repair. but then a vajra is an art expert and legal consultant. if a piece of art gets damaged she liaises between the collector and the insurance company. she works closely with christian chinaman to his team. today she's coming to the studio to assess the way guyton work that was damaged. one of the things that is very difficult in art market is it's not fair. carol so you have to look at multiple markets it's kind of like big corn actually it's being traded and there's a black market which is kind of like the private dark matter so are collectors trading it amongst themselves there's no records there's the dealer and so we work

with the dealers and talk with the dealers and trying to figure out especially if it's an iconic work you know there's this irrational kind of element like what could this work be worse so it's very abstract and then there's the kind of transactional element what's happening at auction every day and globally and you have to combine all of that data lies and most importantly look at the work right before it was damaged and the condition of the work right before it was damaged so that's that's one element and that's one discussion and that is totally of fiduciary responsibility as it is ethic one is more about you know what does it represent and what have we lost in terms of make our material culture and our history and the 3rd is really about the artist to talk about whether it should be considered a total loss or not but. over here you can see 5 finger marks. ok then over here you have this area that has

a different sheen with it i think someone cheated probably was a slam against cloth. and regulated you can see this pattern of saying what happened is that moisture was trapped in wrapping painting and plastic wrapping and as most of us just you know because it's patterned very actually all the way hardly way down you know such a string in the right shape it's an awesome penis in amazing painting because this is really one of the breakout 2008 right yes and it documents the beginning. of his work and that and there are in that maybe of course within the. long line of monaco blacks unfortunately this farm really is the death of the playground so i guess they can get the commission report from you later with all the details if it's tragic it's a tragic death it's like watching you know feel your car act and so after

a total loss you know the artists they vary every artist has a different approach they have a different working process some artists are you know everything they want to have and preserve and so they take the death very very very hard and there's a long 7 mourning period and there's a long discuss for. other artists who may war more prolifically or federally they may be. more open to it and then there's a kind of 3rd artist who is like those suicide artists who you know. there are all the in the collectors they don't think the damage is a big issue but artists is ready is going to kill their own their own objects. christian chinaman maintains close links with many of the artists he works with. the late karalee schneeman was one of them. he would travel to upstate new york

every 2 months to visit her. she led the way for an entire generation of female performance artists and he had only achieved global fame herself late in life. we filmed him visiting shimon to discuss preparations for an exhibition. he brought a few delicacies from manhattan for the 2 of them to share over a leisurely chat. karalee schneeman struggled with the fact that once her work was sold it wasn't clear what would happen to it. many of her works were highly personal and radical experimenting with the issue of the female body in 2017 she received the golden lion at the venice pm. ali for her life's work that same year the museum of modern art in new york presented the 1st comprehensive retrospective of her work spanning 6 decades and so she needed chinaman's help. you know when you come into the studio as dragon museum oh yeah yeah is that is i

going to use arning anything sort of. i have a big problem for you waiting in the big studio. and this problem one is the big broken favor is the same kind of photographs of 7 feet long and now they wanted in the museum at p s 4. 0 yeah there is still that very soon so we'll look at that today and they're very excited that you can give me some advice . and maybe we can fix it. i think you can fix it but really not much time what do you appreciate you know the work is somehow separate from the appreciation that's coming from the world the people who take their work they just i it. and certainly all my early most significant work is gone . and then what do they do with it we don't know i put it in storage could

be you know now that you know that i don't know is it mostly museums you know makes it private people some of them donated to a museum yeah rehabbers not laughter where for some investment in the future actually throw the switch and you'll see them go up and down. and then give it a minute it warms up. is it plugged in. yeah. i think sometimes through. way they're not stiff so it's very thank you thank you thank you for the boss to. say. it's ok they don't die they just. happen.

in her performance piece interior scroll karalee schneeman stood naked on a table with dark paint on her face and body and slowly to a narrow strip of paper from her vagina. it was just for the image of extracting the text from my vagina was a source of interior all. male does not make himself honorable he always orchestrates something for nude women. to accrue to his sexual dynamic and still my intention was that i would never have any participant do something for work of mine that i wouldn't do myself so i had to try everything on myself and i had to be within it to take 7 ribbon i need to take the energy to take the. surprise of what it would be.

one of the reasons that all this has been happening at the end of the 20th century and in the beginning of the 21st century is that we don't have these methods of forever and these myths of immortality and so why does the artwork need to be somehow outside of that cycle of birth and death that's why the work that christian and his colleagues to touch and philosophical questions that are at the root of why artists make car and why people come to museums to see at the very end

of the park we're often asked whether we work for the collector the artist or the insurance companies and our answer is always the same. we are there for the art itself. these days people meticulously planned everything from work on days off every all for this fishing see. as a result many people feel stressed out. what optimal time management. even in the 1st place. made in germany 90

minutes on. climate change. to the head of the future. dot com. click search. in crisis. dutch avella editor in chief innes paul interviews the chairman of the chinese telecommunications giant. cool off. can huawei survive the turmoil caused by the trade war between china and the us.

today starts 1330 u.t.c. on. the bed. this is d.w. news live from berlin donald trump looks set to become the 3rd u.s. president in history to be impeached u.s. lawmakers prepare for a historic vote to put trump on trial before the vote the president fired off a furious letter to house speaker nancy pelosi saying she was undermining american democracy also on the program the u.s. senate's approves sanctions against companies building what germany says is

a vital gas pipeline with russia says washington is meddling in its national favors . and as the un's.