should they be repatriated and what context can european museums show them today. when we go to those museums we look at those objects. like it is not the case in the whole thing. i think the insecurity sions in europe and then the whole global north africa conservative that means they don't want to change their power position of course. take the lands noise museum it holds the famous bust of now for t.-t. which attract hundreds of thousands of visitors each year for close to a century egyptians have been demanding her return without success so how can these art collections be freed from their colonial context and made accessible to everyone artists nor al badri and john nikolai mehlis published this 3 d. scan of national t.v. online without the museum's permission. as long as not just the physical artifact but also that you kind of control the narrative around it because then you can

decide which research for example you give it to with the data in the public domain berlin state museums lost their monopoly over this cultural treasure at least digitally now anyone with a treaty printer can make their own mess for t.v. one replica now is buried in the egyptian desert as a kind of symbolic restitution. that actually matter when all of. material objects are in another country and completely. and actually. violently. so it doesn't matter where the object is who gets to tell the story the museum is also the seat the price of the transmission of the museum has. publishing the data set on a public domain with an effort. without the project very important that

now the reality has changed because everyone can actually access it remakes it talk about it discuss it. with the help of scripts data 3 d. technology and artificial intelligence badri begin to reconstruct the history of mesopotamia to do this she had to collect thousands of images of real objects she managed to get access to the databases of european museums through the digital back door. as long as those. kind of just themselves i think they are not relevant to meaning for the world and they don't connect to what's going on today whereas i think the objects and their stories too are totally and through this digital what i call techno heritage it's to reappropriate the meaning of representation and. meaning. nora al badri the images have special meaning because they represent the cultural heritage of her

father's homeland. long admission is one of the few words i do that actually have a very biographical the component i would say because i'm half iraqi is a country which i could never visit it's a little bit of research for like how did they look like and can be recreate some things without just copying it but generating completely new objects and that's important especially in a region which is nowadays iraq where everything usually is just destroyed and looked at the way a project fossil futures also employs digital technologies to tackle the issue of stolen cultural heritage and public property and southern tanzania many dinosaur bones were unearthed during the german colonial domination tons of these valuable fossils were taken abroad.

it was the sports and tender group where the dinosaur which is today the centerpiece of the natural history museum in berlin was excavated and seen exploited today it is a land grab by multinational companies the exact same spot and of course the people there are. great and i totally understand this and so for all of my projects i go to this place and talk to the people one of these places is berlin's girl it's all part of tortillas for drug dealing many of the dealers here fled from sub-saharan africa they lack work permits and prospects. is planning an event where these men will peddle art drugs. i think. that you ation in real time here what we can see. and that's constantly violating the right. like body and my proposition here for years. and other substance for imagining another world

. nor al badri firmly believes that the power of art can break down colonial structures and the inequality they've created. were. a sort of electronic beat. after a break up. produced this track in camera. crying at the same time. she says women there were treated with more respect before the europeans came. out of. such an impact but also people mentality they were purposely raising also the culture of the people. of

a black man in the 21st century i couldn't swallow my pride i try. you. know was 10 when she left cameron and came to germany along with her 2 brothers. their mother wanted to do her doctorate at a german university. coming here it was a dream. child white culture is. everywhere it's the norm. so when you know as a 10 year old that you're going to europe it's like the sugar candy place. but in a small town in southern germany she was the only black girl around she experienced the burden of being a mother of racism they don't teach you about calling their lives not in terms of

where the we sources come from and how did well come to europe and such an amount it came from their colonies and it's very insane to me to be in this world and go to school so many years where they teach you supposedly about the world you're going to be living in and leave out this huge part of history. and when she was 20 i was a decided to return to cameroon in search of progress and. it was really researching where i'm coming from where i wore my in terms of legacy and history. and it was really sad also to see that my parents how little connection to even what was before them. she wanted to establish a musical connection to governor welcome home is about family and all its strengths

and flaws. so when i went to come i was playing the guitar and i was singing and i got in cameroon and just realized that. look at how to live in was not loud enough you couldn't hold of. europe as well because. you supergirl your own this. it's like when the adrenaline so it didn't months the energy. she changed styles experimented with electronic beats and made sound collages discovering the world a new in the process. and just a mix of the african reality the digital basically but.

now spends most of her time in germany she lives with her young daughter in berlin but africa is a strong part of the mix on this track she sample speeches by kwame and crew mock the 1st leader of an independent gonna. and mixes them with bits of dialogue she recorded during taxi rides around cameroon . now she no longer feels the need to enlighten germans who blank on their country's colonial past in germany i have conversations more with people like jim lee. in brooklyn that umbrella gets a taste of home at this cameroonian restaurant these days her search for identity has faded a bit into the background. the mixture of the to make. and

then. go back to. the back. which wasn't true but i guess i needed to do that to figure out. so at the end it would be up to me to create that that mixture in my everyday life i try so because it's very much healthy it's a healthy balance. and that's something she hopes to pass on to her daughter. what i discover what they did with that is not that important and focus. to live also in that space not knowing uncertainty while enjoying the journey to maybe be calling closer to war. so these berlin street names that are a relic of germany's colonial past don't discourage aus obama she says the future

of the streets lies in the hands of the city's black communities. the past can help the future not 21. see you next time.

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