after all, drones are important and it is important, important to support the front. thank you, mr. taras , for coming to our studio, taras rad , a political scientist, was with us, thank you, dear viewers, for being with us, lesya vakulyuk and andriy saichu worked in this studio for you for seven days, see you soon in a week, and just now, annayeva melnyk will be in our studio with the press, and before she starts telling you the news, i want to thank you for the fact that today we collected uah 3,800. thank you for that. see you, papa, congratulations, dear viewers, it's time to find out about... the most relevant events at the moment and

i'll start with this: the russians killed a 69-year-old woman in sumy oblast. a few hours ago, the enemy shelled the village of krasnopill with artillery, the regional prosecutor's office reports. one of the shells hit a private house where the victim was. she died on the spot. three private homes and two vehicles were also damaged. an 81-year-old man died as a result of russian shelling in kherson. this was announced by the head of the city military administration, roman morochko. muscovites in the morning from the temporarily occupied left bank to the central part of the city. also, according to the regional prosecutor's office, during a hostile attack on the village of darivka in the morning , six law enforcement officers were injured. the shooter and the drg. the authorities of the belohorod region report that a shooting battle between the armed forces of ukraine is allegedly ongoing on the border of ukraine and russia. and soldiers of the russian federation, as

the governor of the region, vyacheslav gladkov, said , the village of terebryane, krasnoyarush district, is apparently under fire, as a result of the so-called attack, power lines in several villages were damaged, about local people also tell about the shooting , they complain that they are forced to sit without electricity, the ukrainian side did not comment on this information, and the espresa tv channel together with... the public organization baza ua is collecting funds for atvs to transport the wounded and other needs of the 93rd separate mechanized brigade of the kholodny armed forces ravine. in extremely difficult conditions , the ukrainian military fights for victory every day, not leaving wounded comrades on the battlefield. with atvs, evacuation will be faster and easier, and therefore the chances of saving the injured are much greater. our goal is 800,000 uah with your help, we raised almost 500 thousand. be which donation is important,

you can see all the details on the screen. still recovering. kyivstar mobile operator announced the restoration of two more services. as they said, a virtual private network, a vpn, and machine-to-machine interaction for business are being restored in the press service. they also plan to launch sms as soon as possible. in general, after a powerful hacker attack , the company's specialists have already fixed it. voice communication, mobile internet and partially home. the company also adds that compensation to subscribers for unused services will be charged only after the full launch of work. 610 settlements in ukraine were left without electricity, all due to bad weather and hostilities, informs the ministry of energy in kharkiv oblast and donetsk

oblast . without tension due to enemy shelling. in chernihiv oblast, the occupiers damaged networks in 19 villages, however, there are no restrictions on the supply of light in any of regions, - added in the relevant department. information from intelligence: the russian authorities have decided by the end of the year. to passport several hundred ukrainians working at the zaporizhzhia nuclear power plant. according to gur, the enemy is putting pressure on the workers to force them to obtain russian citizenship and sign contracts with rosat. the agency notes that the occupiers are selectively denying people access to workplaces, and have also created a telegram bot for anonymous denunciations among nuclear plant workers. meanwhile, among the russian energy workers who were brought to the military. is growing

dissatisfaction, because instead of the promised two months of work, they are forced to stay there for six months or even more. under. a 62-year-old man drowned in a pond in kharkov, the state emergency service reported . it happened in the village of pisochyn. a man was walking near a reservoir, slipped and fell into a pit. he could not get out on his own. in order to get the body, the rescuers had to cut through the ice. the case is being investigated as an accident . 61 people died, a boat with migrants sank off the coast of libya. most of them... and children. this was reported in the international organization of migrants. in total , 86 people from african countries sailed by sea. everyone was trying to reach europe. 25 rescued refugees were taken to the libyan temporary reception center. they were given

medical assistance. i will note that olivia and tunisia are the main points of departure for africans fleeing war and poverty. route through the mediterranean sea. is considered one of the most dangerous, more than 2 thousand migrants died there this year alone. they study in three schools of the poltava region polish as a second foreign language. our correspondent anna morozova visited the classes and will tell you how everything is happening. good day. sixth graders in class.

i've been asking the whole school for it since march, polish is more suitable, it's kind of easier. ilya and his classmates have been studying polish as a second foreign language for two years. he teaches lessons on his own, because his parents themselves are not familiar with this language. i can't write, i can speak and read. tetyana mykhailivna conducts lessons twice a week, almost all classes are held in a foreign language. for fifth grade students textbooks are electronic, and for the sixth grade they are paper ones. what is your sign, ozhev bely, where do you live, in which region, my dear? yehor passed the last test for 12 points , he says, he likes this language because it is similar to

ukrainian, sometimes it is difficult, there are easy topics, huh, and what topics did you like, what did you remember well , did vegetables well, well, that's more from the fifth grade, i still remember, and bohdan already has a goal to go to poland, i want to go to my friend in poland to talk with her, she helps, no, she can fix it there, if i'm doing something wrong there, tatyana mykhailovna has been teaching polish at this school for two years, she believes that the children are doing well, any foreign language is very relevant, the polish language is considered more understandable, and therefore more people seem to respond to it, and students perceive it with great interest, but the language requires knowledge of grammar, and therefore

, when we get closer to grammar, certain difficulties arise, and it is difficult to find a teacher of an atypical foreign language now, many of the specialists... left at the beginning full-scale war abroad, and the parents have a request, says the deputy director. a survey of parents was conducted among fourth-grade students, they were given the right to choose, and the parents themselves suggested learning the polish language. in addition to lessons for the fifth and sixth grades , the school introduces polish courses for parents, teachers and graduates who will enter foreign universities. in general, the polish language is studied in three schools. poltava anna morozova, bohdan proskurov from poltava for espresso tv channel. kisses and support the soloist of the band imagen dragons dends, who expressed solidarity with ukrainians. during the concert, the singer saw the honorees near the stage with a yellow-blue flag. he took

it and just in the middle of the performance kissed it several times. the vocalist also shouted slogans in support of our country. freedom and we remain with ukraine. signed the flag and returned it to the fans, that's how things are at the moment, i tell you see you at 18, then in the espresso area, the project own names from myroslavuy. barchuk, congratulations, good evening, my name is miroslava barchuk, this is a program of its own name: a joint project of ukrainian foam and the espresso tv channel. today we will talk about ukraine. ukrainian culture and the world, how the world perceives us, how we represent ourselves

in the world, are there enough institutions and individual people to communicate with the world. in a word, we will talk about all these interesting things with olesya ostrovskaya, my guest. olesya is the director of the art arsenal, cultural manager. congratulations olesya. good evening. so, let's start, let's start with the first one question, and we will talk about... this time of a full-scale invasion, yes, a big war, eh, do you see a change, and in the attitude towards ukraine, in the interest in ukraine, in the attention to us, it somehow changes, let's say, from march 2022 to today, how do you see this dynamic, i think that really the insertion is dynamic, it is not some kind of static attitude that is fixed at some point and is the same all the time. it is clear that the interest in ukraine is very sudden, it flared up literally at the beginning of the russian invasion of ukraine in

in the spring of 22, and it was not a professional interest, that is, not him, it did not come from institutions or some artistic or intellectual bodies, although from them too, but there was a huge request from citizens of different countries to find out what it was country, something incredible, impossible is happening there. it is tragic what kind of country it is and why it resists so much, this need to know on the part of the citizens was such a fuel for interest in many countries, primarily in the countries of western europe and north america to a greater extent, because we got into our resistance, our actions and the way we explained ourselves, we really got into, so to speak, well, i understand... it is in these countries, in this democratic tradition, eh, but

as a result, there were many different events, they were of different quality, among them there were interesting, important events and those that really added to the artistic context, but there were masses of various such amateur and volunteer-type events that explained ukraine, but were not something very significant from a cultural point of view. creation so ee, by what later, of course, this interest decreased, and now in the 23rd year, it seems to me, rather, we see interest from professional circles, much larger, these circles are also inert, they also need time to get up to speed, so to speak, to plan something , there, for large institutions to plan even some point event, let's say, these are this and this november, i had... a performance together with my colleague yulia vaganova at the museum of modern art in new york, this is one of the largest and

most important institutions of modern art, but in order for this to happen, it was necessary somewhere around six months, and this is just a one-point event, that is, in order to plan everything, so these events in larger institutions, events are aimed more at professionals and to make some of these more sophisticated. to create projects, they had such a delayed nature, they began to appear a little later, for example, we at arsenal presented such an important for us exhibition about ukrainian futurism, photography in estonia, in tallinn in april 23rd, but for the first time we about this the exhibition began to be discussed in april 22nd, when actually a museum of modern art... it is such a visible and significant museum on the european map, it was

the museum of the year in the european union, it received a sign at one time, this museum approached us in april 22, but we were able to hold the exhibition to open in april of 23, that is , it took time, and so it happened with many things, that is, to sum up everything i said, 22 ... the year is a rare movement, the year of such an outburst of civic interest among those who knew very little about ukraine. this is the 23rd year more than a year of institutional interest and more than a year... from the professional side, these are not so, not so much, not so, maybe sometimes spectacular events, but i think they are deeper, they give us more opportunities in the future, you said about the institutional interest, i understand that i sometimes remember such an article, a large

programmatic one by oksana pakhlivska, back in the late 80s, i think where she talked about the fact that, no, it was not the 80s, it was the early 90s x, already after independence, and she wrote about the need to develop ukrainian cultural institutions, it is necessary to urgently develop cultural institutions, ukrainian departments in educational universities and so on. now it is painful to read, because a lot of years have been lost, and i understand that there are not so many powerful cultural institutions in ukraine, and... the more, the more individual people and individual initiatives, that is, there are many of them, but on do i understand correctly that these people have also exhausted themselves almost enough in these two years, they are so tired, they are the same people, let's be honest, and am i wrong, yes, are these initiatives somehow

systemic ones have a character, and the institutions work well enough, so tell me, they are interested... your reflections on this, well, crazy, first of all, it seems to me that we have many institutions, our problem is not in their number, our problem is really in their quality, all the previous decades , to a large extent, ukrainian cultural institutions were neglected, these are places where it was very difficult for people to work even purely economically, that is , they were not institutions that could really conduct such a... thoughtful international dialogue, these institutions really started to change pointwise only after the 14th year, in 2014, when such a critical mass of dedicated, i would say enthusiastic professionals appeared, and at that time the ukrainian cultural fund and the ukrainian

institute appeared, that is, for example, the ukrainian institute, it was such a post-maidan. the initiative was initially in the circle of the minister of foreign affairs, later this initiative was taken up by minister klimkin, that is, i am trying to show that it takes time for these institutions to become important, so by the 22nd year we had some, we already had a lot of problems accumulated in culture, but still in these institutions, but still there were institutions that... could get involved quite quickly and there were really many people who worked in the field of culture, this and in fact, the authors , writers, artists, musicians themselves, so to speak, who were ready precisely, all of us in this field, all people who work in this field, so to speak, empowered themselves to be a voice, and

to speak with their colleagues, let's say we are in the art arsenal of 20 e... 20 february 4 in on this day, they wrote such and such an appeal to our international colleagues, this was done by my colleagues who organize the book arsenal, this is actually our book department of the art arsenal, and on the same day the book fair opened in vilnius, we told in our letter, what is happening in kyiv and ukraine, with the invasion, and this letter was immediately read during the opening of the vilnius book fair. literally on the day, at the beginning, on the day of the russian invasion, and dozens of people did this, i am just giving one example, it was not a unique action, this is what everyone did, so this very charged and very active work lasted all this time, two years passed, in two years

people really got very tired of acting in this mode, on the one hand, on the other hand, we have to to remember that for decades mainly women worked in the field of culture, this means that in ukraine it is women who are responsible for children, traditionally, many of these women simply evacuated with their children abroad, and of course they continued to work and continue to to work as such a ukrainian voice, but this means that there are simply fewer qualified people in many ukrainian institutions. and the tasks became much more, imagine such an average statistical museum, which functioned normally, as we imagine a hypothetical small sleepy town. yes , there is a museum there, and this museum is facing a russian invasion, in this museum people have to evacuate the collections, evacuate

the employees, about keeping, evacuation does not mean that you stop keeping these collections, at the same time, these museums are where there is already such , either there was no occupation, or ukrainian life was restored, they are needed simply to support their community, yes, yes, in some ways. to do events , organize something, just like that, that is, these same people have and create some such valuable activity for their community, and these are the same people who suddenly become interesting to the outside world, and they should tell about ukraine, their museum, ukrainian culture, the collection in the international arena, an international audience, and some of these people were evacuated, so it is clear how he changed... how the load has changed, how much more qualifications are needed, and that's what we 're dealing with, that is, as a result

, there is quite a lot of fatigue in the cultural scene, but fatigue is of course understandable, however , the task remains the same, that is, i think that we now at this stage where we are really rebuilding from this sprint that was the 22nd and...even the 23rd year to the marathon, we have to continue the same work, but, but we have to learn, maybe work in smaller steps, sometimes somewhere more frugal, well, such is the situation, and here is one of tasks, you yourself just perfectly led us to our next topic, one of the important tasks that many people talk about, that tetyana filevska, who works at... at the ukrainian institute, often talks about, is the decolonization of the museums of the world, we will just explain and we will show what it will be about, the fact is that russia

colonized a lot, appropriated many works of art and ukrainian artists in general, so we talk about repin, kuindzhi, we talk about alexandra ekster, we talk about mykola pemanenko, we talk about the wonderful... bordyanskyi, berezovskyi and vedel, we are talking about malevich, that is , in many world museums they say that in every large museum there are dozens of ukrainian artists, so wrongly attributed, that is, attributed to russians, and if we talk about decolonization, then world museums, then someone needs to do this too, yes, is this work systematic, or are there any institutions that deal with this... systematically in ukraine? well, these, first of all, this work should be done by the museums that are the owners of these collections. yes, but someone is them

should to this, if we talk about reality, yes, but this is theirs, this is a question of their professional, so to speak, honor, if you want, professional, there is such a good english word integrity, when you combine ethics and professionalism, and. eh, and many museums have understood this, just recently there was a congress of slavists, researchers of eastern europe and eurasia in america, a huge event for the academic world, these are professors of universities, mostly american ones, where decolonization was an important issue, ugh, and these are exactly those people who not only do they have to do it, those who have the opportunities for it, have pro... professional knowledge, skills they teach in universities, and this issue has already become relevant. this reassures me somewhat, because it means that not only ukrainians themselves are doing

this work, that it is being done by an international community of professionals. it's a plus, not that it's a plus, it's really very good, and it gives us some perspective, really some fundamental change. it is already impossible in... some american or western european museum to ignore issues, for example, attributions are not russian artists to russia, because it's not only ukrainian, no, it's another matter how these museums respond to it, but it's no longer possible to ignore, please excuse me, please excuse me, i'm just asking, i'm going to quote olesya khromaychuk, the director ukrainian institute in london, but before that i will explain what we just showed. in fact, we were showing one of the positive examples of the restoration of the correct

attribution of decolonization. this is actually last year's replacement of degas paintings from the russian name of degas paintings from russian dancer to a dancer in ukrainian dress in the national gallery in london and in the metropolitan museum of art in new york, and if i'm not mistaken, this was actually initiated by a private person, so miriam nayem started correspondence about it, it seems. in the case of the national gallery in london, i don't remember if it was so, but it seems that it was a private initiative, she corresponded with them, and she pushed them to do it, that is , the initiative was not from that side, it was from our side initiative, there were several such initiatives, not a few such initiatives, and for example, there is still one the ukrainian art critic oksana semennyk, who is also actively engaged in this, and the ukrainian institute is also engaged in this and always raises this issue, and actually speaking... i

did the same when i was recently in new york at moma, we talked the same way with there is a lot about this, eh, that is, this question has already become self-evident, yes, for some time, but there is no doubt that there was such ukrainian pressure, with this particular picture it is a little difficult, because it is the title, as far as i can remember now , which was given by the dega himself in 19 century, that is, it was the argument of all these... all this, all this work on research and reattribution, it is in principle long and difficult. that is, degas himself looked at it from a colonial perspective, well, of course, this is the 19th century and this is how even authors looked at themselves, often, sometimes authors, imagine that we, how else could he think, well, let's say, kazimir malevich, if he was in other circumstances, we do not know what the self-identification

of many would be. authors, let's say, if the ukrainian people's republic won, i.e. the famous example of tychyna, the one that is first by such an author, who simply celebrates the ukrainian people's republic, and then what happens to him in soviet times, what i am trying to say is that this is not a linear, such a very simple process, it requires nuanced, in-depth scientific work. discussions, it will have, this discussion will necessarily have an international character, because it will concern not only russia, it will concern many old colonial centers, for example, decolonial, all this work has been actively conducted for several decades in the museums of britain, germany , let's say, in such egregious cases that concern the museums of germany, these are e remains e.

human remains, which are still preserved in the collections of german museums, brought from africa during the colonization of africa in the xix century, that is, these issues, or, for example, the famous case , the marbles of the acropolis, which are kept in the british museum, and greece for many, many years , the state of greece, so to speak, seeks the return of this. legacy to greece, well , it seems, what is there to discuss here, yes, that is, in many old colonial in the centers, this work has been going on for a long time, it surprisingly bypassed russia, and now , when it became obvious that the russian state has a neo-imperial character, it started the war in a neo-colonial way, all these questions were also

put to russia, but no... it is impossible to put it to russia in the sense that it is impossible to somehow expect that, say, the hermitage museum will suddenly show such self-awareness and start decolonization work with its own collection, for this reason, well, not for that reason, but partly within the framework of this general process, the same questions were asked by western european american museums, you remember, i promised to quote olesya khromaychuk, the director of the ukrainian institute in london, and a year ago... she actually wrote for the german magazine schigel, i will quote the quote and ask you whether it is already, whether it is already outdated, whether it is already is not relevant anymore, or at least not as relevant as it was a year ago? olesya writes: every trip to a gallery or museum in london with exhibits of art or cinema from the ussr reveals a deliberate or simply lazy interpretation of the region as a single, infinite russia. dust.