videos, as well as listen to podcasts of the ukrainian voice of america service. and that's the end of it. thank you for watching voice of america, in ukrainian. see you tomorrow, all the best, take care. pope. we are looking for 17-year-old denys smirnov from odesa. the boy disappeared on st. nicholas day , december 6. i know that he was in the hospital and voluntarily left it around 12 o'clock in the afternoon. the boy never returned home, and no one knows where he is now. the police say that denys has never run away from home before and they really hope for your help. so, attention to photo: denys smirnov looks a little older.

he is 17 years old, he is thin , about 175 cm tall, has short dark hair and dark eyes, if anyone has seen the boy or knows where he may be now, please do not hesitate and call us immediately on the magnolia children's hotline for short by number 11630. calls from any ukrainian mobile operator are free, or write to the chatbot of the child tracing service in telegram, it is important. what information? i also want to remind you about the search for 16-year-old karina kanivets from the kherson region. about her mother told us about the girl's disappearance. imagine, a woman does not know anything about the fate of her daughter for six months. and i turned everywhere, where possible, i am already shouting as much as i can, this is how they tied their hands and said to swim. i am currently in such a situation. it so happened that karina's parents separated long before. the beginning of the war and lived separately.

the girl lived with her mother on a permanent basis, but on the eve of the full-scale invasion, she was with her father, and when the russians entered, she ended up in the occupied territory. from time to time, the woman says, she corresponded with his daughter on social networks, but in april the connection with karina mysteriously broke off. the girl stopped logging into her accounts, and no one knows where she is now. and i have already written everywhere.

it has been published since april 2023, this is karina igorevna konevets, date of birth 908/2007. if anyone has seen karina kanivets or knows anything about her possible whereabouts, do not delay and immediately contact the magnolia children's search service at the short number 11630. calls from any ukrainian mobile operator free, if suddenly there is no possible. i have told you only two stories of missing children. in general, since the beginning of the war, we have received thousands of appeals for help in the search. fortunately, the vast majority of children have already been found, but still. the fate of many remains

unknown, especially this applies to the temporarily occupied territories , where the work of the police is practically paralyzed, where it is impossible to leave and there are problems with communication, anyone can help find missing children, take just a minute of your time and go to the site magnolia children's search service, here you can view all the photos of the missing, who knows, maybe you will recognize someone and... eventually help find them. we have created a resource through which you can report any crime against a child. in any city, at any time, just go to the site and report, and we will launch all possible mechanisms to punish the criminal. stopcrime ua. there are

10% discounts on citromondarny in pharmacies , plantain bamdovyshche. the traveler knows what helps. vasyl zima's big air, this is big air, my name is vasyl zima, and we are let's start, two hours of airtime, two hours of your time, we will discuss many important topics with you today, two hours to learn about the war, right now we will talk more about the war, sergey zgurets is with us, and what the world is like, and now yuriy fizar, yuriy good evening, will talk in more detail about what happened in the world. please, you have the word. two hours to keep up with economic news. time to talk about money in wartime. oleksandr morchivka is with us. alexander, congratulations, please. but the news sport review of sporting events by yevhen pastukhov. two hours in the company of your favorite presenters. thank you very much, elina chechenii, for the information about culture news. presenters who

have become like relatives to many. natalka didenko is ready to tell us about the weather for the coming day. and also distinguished guests of the studio. andriy parubiy, people's deputy of ukraine, was also the chairman of the verkhovna rada of ukraine. and the day in two hours, vasyl zima's big broadcast, a project for smart and caring people, in the evening on espresso. according to the results of november, the tv channel espresso ranks first among news broadcast channels. for the eighth month in a row, we are the first. greetings, it's news time on the tv channel. this november we turned 10 years old, we updated the design, sound, we continue the saturday political club. khrystyna yatskiv and vitaly portnikov. our values ​​and ukrainian point of view remain unchanged. stay tuned for espresso updates and thank you for your trust. there is a war going on, and not only for territories, it is also a war for minds. we are engaged in propaganda. russia is throwing millions of petrodollars into that

turn ukrainians into little russians. ukraine will become russia. countering russian information attacks in the chronicles of information war project. with olga ley. monday, tuesday, thursday at 17:15 on the espresso tv channel. hello, this is svoboda ranok, an informational project of radio svoboda. top guests every day. this is the shipping district, kherson. turn on live. we are somewhere in the vicinity of bakhmut, we tell the main thing on weekdays at 9:00.

greetings, good evening, my name is myroslava barchuk, this is a self-titled program, a joint ukrainian project. foam and tv channel espresso. today we will talk about ukraine, ukrainian culture and the world. how does the world perceive us, how do we represent ourselves in the world, are institutions and individual people enough 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 question, and we will talk about this time of a full-scale invasion, yes, a large war, do you see a change 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 the insertion is really dynamic. this is not some kind of static attitude that is fixed at some point and remains the same all the time. it is clear that the interest in ukraine very suddenly flared up literally at the beginning of the russian invasion of ukraine in... the spring of 22, and it was not a professional interest, that is, it was not him, it did not come out like that from institutions or some artistic or intellectual bodies, although from them too, but there was a huge request from citizens of various countries to find out what kind of country this is, something incredible, impossible, tragic is happening there, what kind of country it is and why it resists so much, here this need to know on the part of the citizens was... a great fuel for interest in many countries, primarily in

the countries of western europe and north america to a greater extent, because we got hit by our resistance, our actions and the way we explained ourselves, we really got into how so to speak, good is understood precisely in these countries, in this democratic tradition, but as a result, there were many. or various 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 important from the point of view cultural creation, so the further, of course, this interest decreased, and here in 20... in the third 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, this, this november, i had a performance together with my colleague yulia vaganova at the museum of modern art in new york, which is one of the largest and most important institutions of modern art. but it took about six months for that to happen, and that's all a one-point event, that is, in order to plan everything, so these events in larger institutions, events aimed more at professionals and to create some such more sophisticated projects, they had such a postponed nature, they started to appear a little later, let's say... we at arsenal presented such an important for us

exhibition about ukrainian futurism of photo-framing in estonia in tallinn in april 23rd year, but for the first time we started talking about this exhibition in april 22nd year, when actually the museum of contemporary art of estonia, it this is such a prominent 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, eh, but we were able to open the exhibition in april of '23, that is, it took time, and so it happened with many things, that is, to sum up all that i have said, '22 is a rarer movement, a year of such an outburst of civic interest, among those who have very little knew about... ukraine the 23rd year is more of a year of institutional interest and more than a year on the part of professionals, it is

not so much, not so sometimes spectacular events, but it seems to me that they are deeper, they give us more opportunities in the future. you said about institutional interest, i understand that i am already mentioning such a large programmatic article by oksana. pakhlivska still in the late 1980s , i think where she spoke about the fact that, no, it was not the 1980s, it was the early 1990s, already after independence, and she wrote about the need to develop ukrainian cultural institutions, it was necessary to develop urgently 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 even more so, the more individual

people and individual initiatives, that is, there are many of them, but on am i correct in my understanding that these people have already exhausted themselves almost enough in these two years, they are so tired, they are the same people, let's be honest, but am i wrong, or do these initiatives somehow have a systemic nature? and the institutions work well enough, tell me, are your reflections on this interesting? well, it's crazy, first of all, it seems to me that we have many institutions, our problem is not in their quantity, our... problem is really in their quality, all previous decades ukrainian cultural institutions were largely neglected, these are places where it is very difficult for people to work even purely economically, i.e. these were not institutions that could really conduct such a thoughtful international dialogue,

indeed these institutions began to change point by point only after... the 14th year, in 2014, when such a critical mass of dedicated, i would say, enthusiastic professionals appeared, and at that time, both the ukrainian cultural fund and the ukrainian institute, that is, for example, an institute, a ukrainian institute, it was such a post-maidan initiative, first in the circle of the minister of foreign affairs dyshchyts, later. this initiative was taken up further by minister klimkin, that is, i am trying to show that it takes time for these institutions to become, become weighty, so by the 22nd year 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. and actually , the authors, writers, artists, musicians themselves, so to speak, who were ready, all of us in this field, all the people who work in this field, so to speak, empowered themselves, to be a voice, and to speak with our colleagues, let's say, we are in the artistic arsenal on february 20, 20, 4, on this day, such and such appeal was written to our international... oleg, it 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 it opened book fair in vilnius , we told in our letter what was happening in kyiv and in ukraine, with the invasion, and this letter was immediately read during the opening of the vilnius book fair, literally on the day of

the beginning, on the day of the russian invasion, and so did dozens people, this... i'm just an example i would like to point out one thing, this was not a unique action , everyone did it, so all this time there was such a very charged and very active work, 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 must remember that for decades mainly women worked in the field of culture, it is... that in ukraine it is women who are traditionally responsible for children, many of these women were simply evacuated with their children abroad. and of course, they continued to work and continue to do so to work as such a ukrainian voice, but this means that there are simply fewer qualified people in many ukrainian institutions, and there are much more tasks,

imagine such an average museum that functioned for itself. of course, how, let's imagine a hypothetical small sleepy town, and there is a museum there, and this museum is faced with a russian invasion, in this museum people have to evacuate collections, evacuate employees, about keeping these, evacuation does not mean that you stop keep these collections, at the same time these museums where there is already such, either there was no occupation, or restored ukrainian. life, they are needed simply in order to support their community, yes, yes, to do some events, to organize something , just like that, that is, these same people should 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, collection in

the international arena, to an international audience, and some of these people... were evacuated, so it is clear how it has changed, how the workload has changed, how many more qualifications are needed, and this is what we are dealing with, that is, as a result, quite a lot of fatigue is felt on the cultural scene, but fatigue - this is of course understandable, however, the tasks remain the same, that is, it seems to me that we are now at such a ... stage, when we are really rebuilding from this sprint, which was the 22nd and even the 23rd year, into a marathon, we we must continue the same work, but ah... but we have to learn, maybe work in smaller steps, sometimes somewhere more frugal, well , that’s the situation, and this is one of the tasks, you yourself just

perfectly led us to our next topic, one of the important tasks that many people talk about, that tatiana often talks about filevska, who works at the ukrainian institute, this is the decolonization of the museums of the world, we will only explain and show what it will be about... the fact is that russia colonized a lot, appropriated many works of art and ukrainian artists in general, yes we are talking about repin, kuindzhi, we are talking about alexandra ekster, we are talking about mykola pemanenko, we are talking about the wonderful bordnyanskyi, berezovskyi and vedel, we are talking about malevich, that is, many world museums are said to have in each... in a large museum dozens of ukrainian artists so wrongly attributed, that is, attributed to russians, and if we talk about

the decolonization of such world museums, then someone needs to do this too, so is this work systematic, or are there any institutions that systematically deal with this in ukraine, well these in the first first of all, this work should be done by the museums themselves , which... are the owners of these collections, yes, but someone owes them to this, if we talk about reality, yes, but it is theirs, it is a matter 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, yes, and many museums have understood this, literally recently a congress was held in america. scientists and researchers of eastern europe and eurasia, a huge event for the academic world, these are university professors, mostly american, where

decolonization was an important issue, ugh, and these are the people who not only have to do it, who have the opportunities for it, have professional knowledge, skills, they teach at 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 the international community of professionals is doing it, this is a plus, not that a plus, it is really very good, and it gives us some kind of perspective, really some kind of fundamental changes, in impossible already in to some american or western european museum to ignore the issue, for example, of the attribution of not... russian artists to russia, because it is not only ukrainian, no, it is another matter how these museums respond to it, but it is no longer possible to dismiss, sorry, sorry, please

, i will just ask, i will now quote olesya khrumaichuk, the director of the ukrainian institute in london, but before that i will explain what we just showed, we actually showed one of the positive examples of restoration, restoration, well, correct attribution , yes, decolonization, this is actually last year's replacement of degas paintings from russian, the name of the degas painting from a russian dancer to a dancer in ukrainian clothes, in the national gallery in london and in the metropolitan museum of art in new york, and if i'm not mistaken, it was actually initiated by a private person , so we measure. she started correspondence about it, it seems in the case of the national gallery in london, i don't remember if it is so, but it seems that it

was a private initiative, she corresponded with them and she pushed them to do it, that is, there was no initiative from that side, it was an initiative from our side, there were several such initiatives, not a few such initiatives, and for example, there is the ukrainian art critic oksana semennyk, who is also actively engaged in this, and the ukrainian institute is also involved in this. deals with and raises this issue all the time, and actually, when i was recently in new york at moma's, we also talked a lot about this issue, that is, this issue has already become self-evident, yes, after some time, but without a doubt, that there was such ukrainian pressure from this particular painting of ego is a bit difficult, because this is the name, as far as i can remember now, which i gave... andiga in the 19th century, that is, it was an argument, all these, all these, all this research and reattribution work, it is in long and

complicated in principle. that is, degas himself looked at it in colonial optics, well, of course, this is the 19th century and even the authors often looked at themselves that way, imagine that we, how else could he think, well, let's say kazimir malevich, if he was in different circumstances , we don't know what self-identification would be many authors, let's say, if the ukrainian people's republic had won, i.e. the famous example of the current state. who is first of all such an author who simply celebrates the ukrainian people's republic, 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 a nuanced, in-depth scientific work, discussion, it will have, this discussion will necessarily have an international character, because it will concern not only russia. this

will apply to many old colonials centers, for example, all this decolonial work has been actively carried out for several decades in the museums of britain, germany , let's say, in such egregious cases that concern the museums of germany, these are human remains, which are still kept in the collections of german museums, brought from africa. during the colonization of africa in the 19th 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 heritage to greece, well, it seems that there is nothing to discuss here, yes, that is, in the gods. in

the three old colonial 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 asked of russia, but it is impossible to ask of russia , in the sense that it is impossible to somehow expect that, say, the hermitage will suddenly show such... self-awareness and start decolonization work with its own collection, for that reason, not for that reason, but partly within the framework of this general process, the western european american museum asked itself the same questions. by the way, i promised to quote olesya khromaychuk, the director of the ukrainian institute in london, and she wrote a year ago for the german magazine spiegel, i will quote the quote and ask you, is it already, or is it already?

is it 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 art exhibits or cinema from the ussr, reveals a deliberate or simply lazy interpretation of the region as a single , infinite russia. curators have no problem calling jewish, belarusian or ukrainian art russian. it is very rare that a ukrainian is not called a russian. we can... say that over the course of a year, some understanding took place and that some internal work took place, i would say that i am very, very similar to agree with olesya hormaychuk in this quote, this is exactly the state of affairs, let's say for 2021 , 100%, but there has been an awareness of this as a problem, no one has yet occurred really very noticeable, super noticeable work.

but this problem is recognized as a problem in the specialist community, we will see in a while whether this really leads to some serious revision, but i already see it as quite a big step, to be honest, but even more me than than events in individual museums, this congress that i mentioned earlier is pleasing, because these are scientists, and their... their work, their books, and the way they teach their students, has an impact over a certain period of time, much more fundamentally at the museum, because all these people who study at universities, then work in these museums, this seems to me to be such a strategic, big process that has started to move in the right direction, and i cannot avoid the topic of boycotting russian culture, boycotting. or

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