the disasters the americans left collective responsibility for every said it's really a pressing. a group of people being explicit over the fact distressing. colorado oh yeah. or fan for wrapping up a weapon. one i have 5 or 6 individuals with 47. permission learn a lot. let me know when you have what you might of all up through traffic to safety on the thing. thing thing, not just for the united states,

most nations that have been engaged in combat, that particularly in this case, which my view was an unjustified unprovoked war in iraq. united states took great links to try to justify acts that in fact, we could potentially qualify as war crimes. we would not have known about it or not for the actions of julian sanchez and wiki leeks. and putting this information out . because up until people were actually able. ready 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 out 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 spy, that's isn't. and 3 war was predicated on the full 3 tags of weapons of mass destruction being based in the country i'm led to decades of serve on here on our team will continue to coordinate who was deadly day that they're off them off in 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 people, and to defend the world from great. how

we with the medicine and fleet with well, barrels out. this is our, my colleague, rachel blevins, will be with you at the top of the hour with more instructional news. i'm run from ami wishing you all a very pleasant sunday. a to what we've got to do is identify the threats that we have. it's crazy implementation. let it be an arms race group is often very dramatic. a development only. so i'm going to resist. i don't see how our strategy will be successfully

very critical arm time. to sit down and talk lou, 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 to day. now how many of these looted treasures? and while they're no longer displayed as trophies of war, there 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. we page ration 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 returned 3 terra cotta figures to italy. the denver are museum, shipped for antiques, back to cambodia. this nathan tony, in return 29, been in bronze is back to nigeria and the london horn and mon museum said it would return 72 treasured artifacts. back to nigeria in 2020 the museum of the bible in

washington, d. c. returned nearly 11500 looted objects back to iraq and egypt including 5000 pirates, 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 museum 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 ideologies and regimes. however, there are questions regarding who owns the artifact, and where is the documentation to prove that many ancient or historical king knows from which many objects originally came from no longer exist or spread across many contemporary national borders, such as those of the ancient roman empire. another point to consider is the question of whether or not the artifacts will be properly care for, or if the origin country has the security to even protect them. financially, museums will be in a lot of trouble with the loss of precious artifacts. for example, the british museum made an estimate of 4000000 pounds in 2020, from their vast collections of artifacts during the colonial period. hence, the main reason for withholding repatriation of artifacts does not fall under disrespect or ignorance, but rather the risk of inefficient maintenance and economic loss. joining us

today is attorney leila. i'm in de la. how much have museums gained with art that doesn't belong to them? and how much value had 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 value in terms of tourism and revenue and sales from the gift shop. i think a lot of the value is cultural. so if you're really hard number to quantify, but the value to really i would say high are really important for he, for just mankind and for people enjoying are inherited. but on the other hand, should all are 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 to

let people can enjoy them in a central location without ever having to travel. so i don't think all art should be repatriated. i think that we should be examining the circumstances under which these objects were brought to the news, dan. so if the objects were stolen from a country, if they were taken during times of violence, then i think those are 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 want all

their works back. but i think countries are mindful and selecting certain pieces and i think there is a lot of value to these. we can say, could keep it, 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 when they're 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 an 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 moved from you see and 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 in the top on perhaps as object shouldn't be returned. now, while the title on some role. 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 statements. 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 prices 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. i mean, we think about even think of like leonardo michelangelo is like ha, painter. and so i think there's always been a marketing aspect for merritt in modern are 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 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 it's the same of the art world as well. when we come back is art specifically modern art, a way to wander money? is there any real value in it? don't go way. ah ah, do i believe the mag goes get out between me today? no, that's wrong. i was on my phone. i barely. yes because of the things that they are fighting for their own independent sovereign existence.

then of course, they should be dep, it, dep, it to the best of god damn sporting them. if they're thinking that they're fighting, what the defense of the liberal democratic was. i think they will be the loser. ah ah ah ah the the the

ah, the our world is very opaque and unlike industry 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. our dealers are not obligated to disclose the identities of their buyers. that means that anyone who has the money to buy art can no questions asked. so for those looking to launder money, art is a very attractive vehicle. the united nations office on drugs and crime, 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 skillful, detailed, and stands the test of time. the artist is not alive any more, 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 the big red scribble on canvas is valued at $46000000.00. another pace 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 forgeries that can never be detected. that's a 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 are just for your use. and in fact, that's just a theory that's been circulating about the mona lisa, that the modem lease is just way too valuable to actually have on display. and that the real one is hidden somewhere in 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 ard, 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 scrutinize

and asked her 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 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 past the 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 people will come to my law firms some times with questions about work that they're interested in buying. and the last guess if we can help authenticator work, so we don't, we are not experts and authentication,

but we'll advisor clients to use experts and to use reputable experts who can examine the work and give an opinion about the style of the work. so these would be our kind of, we're 2nd give you an opinion on the stylistic features of a 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 appeared on the art market. if it had gone to auction, you know, there are receipts information about the works and 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. so that client can make a better determination about whether the work is authentic or 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 you work with forgeries and authentication. so our 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 forgeries? and can you give us a dollar amount of how much our per year is forged? so they're light 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, is the estimates go from 20 percent of the market storage 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 as kind of lower market to middle market. there are more foraged, works in those markets. so, work set are perhaps around $150000.00 and below. the more valuable or 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 for 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 order is a 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 illegal, ah, you'll get caught at customs. it'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, roll up campuses and their luggage or get smaller pieces that are a value can seal them. and cross the border with these,

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 trafficking, 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 customs officer let the shipment through where it was hit it away at a secure warehouse for almost a decade before 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 a. m. l requirements including due diligence checked art, dealer's 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. ah ah

a ah ah, a number of local us republic are killed and wounded as the area once again come to

under ukrainian, shelling a story that shape the week. we were at the timeline of the bomb attack in st. petersburg, which killed the high profile russian more journalists and wounded around 40 other people in a renewed effort to end and year, decade long. the conflict he delegations arrive in the admin for peace.