roger oh yeah, excellent or fan for graphic one as a weapon? 18547, west permission let me know when you get what you might have all up through traffic to safety on the 3rd thing. thing thing, not just for the united states, most nations that have been engaged in combat, particularly in this case, which my view was an unjustified unprovoked war in iraq. united states to great

lakes to try to justify acts that in fact could potentially qualify as war crimes. we would not have known about it or not for the actions of julia sanchez and wiki leeks. and putting this information out. because up until people were actually able to watch the video, they were forced to accept the official military version of how those events transpired. this made assigned a target. his actions in conjunction with those of bradley manning now known as chelsea manning highlighted the fact that there was an information flow outward of classified information. and that it was making its way into the hands of a journalist who was published. so whenever a journalist publishes sensitive information like they're always open to being accused of being a spot with a 2003 war was predicated on the false pretext of weapons of mass destruction being

in the country and lead to decades of turmoil. your own rti will continue to chronicle those deadly days, amber aftermath and our coverage of the us led invasion of iraq at this hour. american and coalition forces are in the early stages of military operations to disarm iraq, to free its people, and to defend the world from gray. with . with, with

examining the growing movement, calling for looted artifacts to be returned to their home loans. it is christie, i on the cost of everything. next, will it put priceless works of art in all necessary danger. are right. the wrongs of colonialism, not right ahead. with blue there seems to be a growing movement calling for the return of stolen artifacts to their homeland, especially when a nation with a claim to these artifacts, requests or demands it. i'm christy i and you're watching the cost of everything. where today we're going to be examining the art world and whether or not artifacts and artwork should be repatriated, as well as the role of modern art in today's world.

ah, moody art and precious artifacts of defeated people by war has been common practice in ancient times. and these treasures are taken back to the victors capital to be displayed as trophies of war and conquests. museums today, now how many of these looted treasures? and while they are no longer displayed as trophies of war, there are still displayed for educational and cultural purposes so that all the public can enjoy these national treasures. however, today, debates around the colonial context of these acquisition by western museums has centered around arguments in favor of repatriation. repatriation refers to returning cultural property or looted artifacts back to their country of origin. and the pace of repatriation has accelerated in recent years. the getty museum and l. i return 3, terra cotta figures to italy. the denver are museum,

shipped for antiques, back to cambodia. this is nathan tony and return 29. been in bronze is back to nigeria and the london horn and mon museum said it would return $72.00 treasured artifacts. back to nigeria in 2020 the museum of the bible in washington dc. return nearly 11500 looted objects back to iraq and egypt including 5000 for pyro, 5 minutes and 6500 clay tablets. so what is the point of all these repatriation and why are museums so against it? museums are against the repatriation because the purpose of these museums is to showcase things of cultural value from around the world. especially as some people are not fortunate enough to travel all the top 10 most visited museums yearly. all the one are located in europe or north america, with the exception being in beijing,

china. these countries have museums that are subsidized well enough to care for and display historical artifacts that can be viewed by possibly millions of people. however, some people feel that museums should return artifacts to their original countries because they're the remnants of colonialist ideology. however, there are questions regarding, for example, the british or ignorance, but rather the risk of inefficient maintenance and economic loss. joining us today is attorney leila. i'm in dollar how much have museums gained with art that doesn't belong to them and how much value have the countries last? because of the theft of their cultural art. i think it's really hard value to one to 5 because really the art is priceless. it's not just about the monetary values in terms of tourism and revenue and sales from the gift shop. i think a lot of the value is cultural,

so it's really hard number to quantify. but you value your really, i would say high are really important for he, for just mankind and for people enjoying art and heritage. but on the other hand, should all art be repatriated. if all artifacts were to be repatriated, many museums would actually sit empty. so what's the point of even having a museum when the purpose was to bring in things from all corners of the world so that people can enjoy them in a central location without ever having to travel? so i don't think all art should be repaid treated. i think that we should be examining the circumstances under which these objects were brought to the new dan. so if the objects were stolen from a country, if they were taken during times of violence, and i think those objects should be treated, but i even think that those origin countries, countries that want their work spec aren't looking to have every object returned. i

think they're looking for specific pieces that are symbolic of their people or objects that help to tell a story that those countries can't tell. i had read a statistic that about 90 percent of our from africa has been looted from africa. so these nations can't even tell their own stories of their other past. so i think that i don't think there's a real danger of that museums are going to be emptied because countries will all their works back. but i think countries are mindful selecting certain pieces, and i think there is a lot of value to the we con, cyclic p, that museums, museums like the british museum in the metropolitan museum of art. it's wonderful that we have works in one place where we can see the objects kind of in the context of world history. and there is a lot of value there. but that doesn't mean that object should only be in those museums. and that these origin countries don't have access to their own art. now,

many source countries do not have adequate facilities or personnel, whether due to poverty or armed conflict. so many artifacts are actually safer with they are actually housed now. should these pieces be repatriated where most likely they'll end up getting destroyed or damaged? it's a really difficult question. and i think we have to look at those circumstances as well. so there have been programs, for example, in the u. s. where u. s. museums could hold on to objects that were taken from iraq and syria, and there was objects wouldn't be returned until it was safe to do so. this is done been done historically as well, even during world war 2, objects were removed from museums put away and safe keeping and then didn't return to museums until it was safe to do so. so i think we can continue with that type of and that, that kind of problem solving when you have objects that aren't safe returning home

. and i know there are some situations or specially complicated, like if you're considering objects from afghanistan and the top on perhaps as object shouldn't be returned. now, while the telephones and roles. so i think you have to look at specific specific circumstances. but i think the danger there is that a lot of western museums will say that it's not safe to return berks to the middle east in general, or to african countries in general. kind of just making these blanket statement so that works will be returned. would you say that modern art is simply a product of marketing and that if an esteemed collector or gallery where to endorse it, similar to any consumer good that's being endorsed by celebrity, that's enough to justify a high ticket price. so i don't think all modern or is just or with the price is attached to modern are just a result of marketing. i think marketing has been around, you know,

for centuries there's always been trends of who the hot painters are and we think about you can think of like leonardo michelangelo as like ha, painter. and so i think there's always been a marketing aspect for our i think there's a lot of merit in modern art as well. but there are definitely trends, and there are definitely there. there are celebrity endorsements, and galleries themselves that know how to market artworks by using social media accounts and placing works with high profile customers. but there is still a lot of merit in modern art, but i think that's with any type of are or any type of good. you're not necessarily necessarily getting the highest quality all the time. and i think different brands market. so i think the same in the art world as well. when we come back is art specifically modern art away to launder money? is there any real value in it?

don't go away. ah, ah, do i believe the americans did? did you make or did? no. that's wrong, i was on my phone. i barely. yes because of the you in the ukrainians, things that they're fighting for their own independence saw it on a distance then of course there should be a death indefinite to the rescue of good news. dev sporting them if they're thinking that they're biting what the defense of the liberal democratic was. i think they with what we've got to do is identify the threats that we have. it's crazy. even

foundation, let it be an arms race is on, often very dramatic development only personally and getting to resist. i don't see how that strategy will be successful, very difficult time time to sit down and talk a. ringback because she changed with him as us are forced um, national leader, which is obviously still a good a with

no short jump, a prescriptive copy from. wanted to feel good as the voice. a name for the art world is very opaque. and unlike industries like real estate, where buyers and sellers are vetted and known and recorded, transactions are typically masked. art typically accommodates those who want to anonymously buy a high dollar paintings. and the industry actually allows for large cash deals. art dealers are not obligated to disclose identities of their buyers. that means that

anyone who has the money to buy art, ken no questions asked. so for those looking to launder money, art is a very attractive vehicle. the united nations office on drugs and crime estimates that the underground art market, which includes deps, fix illegals, import. an organized looting may bring in as much as $6000000000.00 annually. the portion attributed to money laundering and other financial crime is in the $3000000000.00 range. now this is a significant chunk, as approximately 300000000000 is longer through the u. s. each year. and especially compared to other things like crypto currency in which only $2800000000.00 was launder in 2019 art was more than double that of crypto currency. when mexico passed the law and the 2010 to require more information about buyers and how much cash is spent, the market cratered, a sales dip 70 percent in less than

a year. many believe that this was because mexican cartel rings had previously been the biggest buyers in the market. so now what is modern art and how much is a really work? well, that's a tough question because the value of modern art is entirely subjective. it is easy to see why a historically significant painting is worth a lot of money. it is feel for detailed and stands, the test of time. the artist is not alive anymore, which as to the value, the piece as there is a finite number of works available. however, compare that with a modern work of art, something like sy twan these untitled and it is just baffling how this big red scribble on canvas is valued at $46000000.00. another piece like the comedian, which is essentially a rotting banana duct tape to a wall. so for a $120000.00, many speculate that a blend of money laundering and

a constant boundary disintegration in the modern art world has given birth to this ugliness. as we now know as modern art. because it actually doesn't matter what the art looks like, because it's not about making good art anymore. it's about covering a dirty money, an artist. now our focus more on creating what will sell easily versus objectively high quality or beautiful art. modern art doesn't have to have a clear and set market value like other industries. money laundering is rampant and art is also very easy to smuggle and move around. the economist estimated in 2013 that the geneva freeport might hold more than a $100000000000.00 worth of us art sitting, tucked away in a space that also functions as a tax haven. art collectors also have creative ways to use our work as ways to defer paying taxes as well, including the establishment of private museums and foundations,

storing art and offshore free ports and loop holes in the tax code such as like kind exchanges. leila is here with us again. are some of the famous works out there in reality, just ordering that nobody knows about and are there are some 4 groups that can never be detected. that's really fun question. i think it brings up some of these conspiracy theory ideas as well that some of the great works we're looking at, or just forger use. and in fact, that's just a theory that's been circulating about the mona lisa, that the mar lease is just way too valuable to actually have on display. and that the real one is hidden somewhere and some type of ball or bunker. there are a lot of forward driven out there, and i think it's hard to detect one's work that are for dreams there are potentially works that we've been looking at for decades. were maybe even centuries

that are forgeries. but it's really hard to know which works are unless that work is really scrutinized. and that's true. any can be done with forensic science by the work of kind of sores by looking at the history of a work. not so for find are and antiquities as well. there's often documentation that sport to company a work for sale. so you may think that'll work came from an artist studio or that i had this really ah prestigious pad this history. but in fact, it could be a modern forgery, that is accompanied by foreign documents. so there are a lot of for circulating. so it's important that people purchasing are very mindful of that and actually take this step to ensure that they don't by forgeries so that they're interested in buying. and the list are kind of words that can give you an

opinion on the stylistic features of work. we also sometimes recommend clients use a forensic scientist to test the pigments to test the materials in the works to make sure that that they're correct for the artist. and then of course, we'll also sometimes use researchers to dig into the past of the work to see if the work had ever appear on the art market. if it had gone to auction, you know, there are receipts information about the works in catalogs or exhibitions. and we say that those 3 aspects of authentication are like a 3 legged stool. so you kind of balance all of those considerations for that client, can make it better determination about whether the work is authentic or a forgery. and as lawyers, if a client does want to proceed with the purchase, as lawyers will prepare the legal documents and write those contract so that there is

a problem down the line and the buyer could get his or her money returned. i think people are becoming more aware of, so they're doing a little more due diligence and the price is on the art marker. are really skyrocketing, so it's essential to protect your, your purchases. but we don't just do work with forgeries and authentication. so the art market hot right now, so i think a lot of lawyers is who are practicing in our law, are busy. how big is the forgery market? what percentage of the art market is made up of 4 trees? and can you give us a dollar amount of how much art per year is forged? so they're like estimates on how large the market is for forgery is, are with the percentage of works out there. and if they're for it or not. and i think though, the estimates go from 20 percent of the market is foraged to 50 percent of the

market. and looking at those numbers the off to offset, consider what worked for looking at. so i would say a lot of kind of lower market to middle market. there are more foraged, work in those markets. so works that are perhaps around $150000.00 and below. the more valuable or you know, works that are sold for half a 1000000 or more people will conduct more due diligence. so it's less of the work or less expensive. there's not as much scrutiny and it's easier to pass those works on the market. so i would say probably the lower end of the market has more ford threes than the upper end. so the works, we're seeing an auction houses that are selling for multimillion for many millions of dollars. those are the ones that are probably less likely to be forged and how so our market use to longer money. yeah,

so or is it really valuable commodity that's easy to us? so the example that i'll give to my students is that if you're trying to transport $10000000.00 worth of cocaine as a really difficult thing to do, right? i mean that the legal ah, you'll get caught at customs. that's a very difficult criminal to actually accomplish. whereas transporting and $10000000.00 painting as much easier to do. in fact, some people will not declare those works. roll canvasses a role of campuses and their luggage or get smaller pieces that are a value conceal them. and cross the border with the, with these objects that are incredibly valuable. so are, has been used to launder money. it's a way to clean money if there are proceeds from illegal acts.

that money can then be put into, or someone who is involved in organized crime, could then invest that money proceeds from drug trafficking or human try clicking and put that money into an artwork and then legitimately be able to, to sell it. now our world is the largest legal, unregulated industry in the world with global sales reaching over $64000000000.00 in 2019 and about 82 percent. a global sales of the art in that year were made in the u. s. the u. k. and china, the winners of this are obviously the criminals who treat the industry like a watering hole. artworks are faked, sold on the black market, and used to finance, enlisted activities or launder ill gotten gains. they are easy to move as a painting smuggled into the united states was actually worth $8000000.00 for the

shipment invoice, stated that it was only a $100.00. so the custom officer let the shipment through where it was hit it away at a secure warehouse for almost a decade before and resurfaced again. but now the industry is changing. there are a call to add transparency to the art world, control that auction houses and art dealer's on how to avoid doing business with sanction individuals or acquiring the treasury to collect beneficial ownership information for companies formed or registered to do business in the country. in 2020, the e u and the u. k. adopted the 5th european m l directive and became the 1st section in the world to regulate the art trade. art traders are now perceived as financial institutions and must follow the am l requirements, including due diligence checked. our dealers must also report both wire and cash transactions above $10000.00. however, the international market was not sore throat about this,

especially our dealers who argued that the regulation would bring about too much bureaucracy and eliminate the culture of privacy. while this is a step in the positive direction, the art market is an international segment and requires a coordinated global approach to combating money laundering for organized criminals . i'm christy. i thanks for watching and we'll see you back here next time on the cost of everything. lou ah ah, ah

ah, in 1834 france invaded algeria, and straight away the french started inhabiting it to strengthen their position. the colonists, known as p a. no, ours took the best land from day one, the local population was put into an unequal position and was brutally exploited. these goss mazda is content, the people of algeria began their long term fight for independence. in 1954,

the banner of freedom was raised by the national liberation front. a guerrilla war against the occupants broke out. the french tried to suppress the rebellion using cruel measures. full villages were wiped out acts of georgia and executions of civil people, including pregnant women, children and old people took place more than 2000000 people were put into concentration camps. however, these punitive measures didn't help the algerian patriots managed to induce france this dart fees negotiation. in 1962. evian records were signed, voting algeria in the past towards independence. but this was achieved at a colossal price. algeria by rights is considered to be a country of martyrs. according to the calculations of historians, the french colonists are responsible for the deaths of one and a half 1000000 algerians.

with the stories that shaped the week week timeline, the terror attack in st. petersburg, which killed prominent russian war journalists, blood land test, tar sky on wounded, at least 40 other people. also head in the program today, mass protests against you. additional reform spread across israel, coming in mid already soaring tensions in the region following a space of deadly terror. the victim women, the elderly, and children as young as one who was shot multiple times at close range. continuing our special coverage of the 20th anniversary of the us and the.