of rods installed in my legs, which remained for 11 days. and then the doctor's last hope for me to stand on my leg again. they decided it needed to be amputated because the toxicity of my body increased to 85 percent. doctor said, if we transfer you to empty to the outside of gaza, you will die on the way. so they empty to that here and guys, the mission will be a lot had the pain is unbelievable. as we say, you forget the home world because of pain. the moment there got shot, i remembered my dream to play football on a professional level. well injured. i thought that this dream would be lost, but i have kept doing that. my dream is not lost yet. i decided to continue. football is a hobby. there's no doubt that the pain is costing, but god helps us get through this and to get through this pain in entering. the only reason for destroying my hopes in football is these railey occupation. it

didn't have mercy on anyone, children, elderly people, women, or anyone who participates in the march and returns the cheerful. we wish them, i don't know. the entire international in the reading community is sleeping. they are silent on what happens in palestine. the children, young men and the elders of palestine are getting killed almost every day. we're wounded and displaced and no one is paying attention. no one is supporting us or standing against the zionist entity, the case of evacuation. i won't be able to run away. maybe my injury is an obstacle for me. there's fear not just me, but everyone gets afraid. all right, another reminder to stay with archie international for full coverage of the g. 20 summit this week and plus a whole lot more to stay with us. i'm back in just under 30 minutes time this

morning. by the way, the museums are important for preserving our history so that it isn't lost to future generations. but our physical museums, places themselves a relic of the past. this is one of the best museums in the world, but from a touch in st. petersburg, he helps rescues the director here and i bet he has some answers.

the student, the history is always biased. the energy resides in the physical space. the energy that resides in paintings that energy cannot be fully conveyed through the technology. there's the restoration ends. what assumptions begins? do you think i can try my hand today and fairly various through supervisor? the mentors of a 2 types of question, the disability. why i well my scarf all the time and watch my favorite painting. professor control ski nice to meet you. thank you very much for hosting us here. um, it's basically uh, this is a hermitage, as you've been the director here for 30 years. the world has changed

a lot in this time. what is the hermitage or how has the hematologist changed along with a new? we've seen me in the right now we're in the winter palace. it's part of the how much and the monument to russian statehood, but also a world famous out museum. i do hope the hon. montage hasn't changed much and said he is on job is to present of this wonderful 19th century museum and then you know and make sure it continues to tell stories. it takes a lot of the work to keep it from changing. and you know, that's why we've launched the great home with us project. so it's an entire complex of facilities, including the new buildings on pallet square. as a result, we've doubled our exhibition space where we think we've also opened a storage facility at home and our starting alternative now. so that's old village . finally we, so we've established a number of satellite museums and governments. previously, we had time with our satellites in russia and all around the world. let's see. for now, how many of the russian branches are active with us while the home with us as

a molten high tech museum with a global presence at the worst that i believe it still manages to preserve the spirit of the 19th century. so history, it, the changes people can manipulate the history if you will, uh, based on their own agendas. uh, how do you keep the history from being changed so that you can so that it is non biased and sensitive is as impartial. no, it's fluid isn't cause any, but history is always biased to whom was the water museum does is give people an opportunity to make their own interpretations based on authentic pieces of history and all the items here are authentic with us. we don't offer interpretations. every person learns different things from different sources that are what makes our museum. great is that while we have our own view point, which we let everyone tell this to read the way they want us to tell it to see about us, let me give you an example. catch up,

we were about to enter the gallery dedicated to the petri eltic war, the 1812. and so the painting was the which to pick the battle up, but i didn't know. so there's a need for russians. this was a great victory of the russian empire, but to the french, it was a great differential victory. history is always biased that way. yeah. the we've also got paintings of the battle have been as enough. and if anybody, they tell the story of napoleon honestly in russia for doing this and it would appear to show another great victory for russia wouldn't detoxes. but we also know that the commander of the russian army and that is enough, was not included in the series of full traits because he let napoleon zone go and get away with thoughts. so this shows that history can be interpreted in different ways. which can sometimes contradict each other. so i know that a lot of museums have a technology advanced technologies like sweetie, exhibits v r, and the use augmented reality may be a. how is the hermitage adapting to this? do you have exhibits that use new technology,

logistical shipping typically and now in the process of creating what we call the success deal hematologist, much of what we do involves cloud technology performance. well, this is especially relevant today, just so this russia finds itself in an intellectual and cultural blockade system. so everything we do ends up in the cloud. now you don't have to physically come to the home a tough to discover it stretches. boulevard excavations are uploaded to this virtual hermitage and we do exclusive digital exhibitions as well. we have a series of items that we exhibit in virtual reality and to put on display physically in other museums as part of home attached days, full blended reality and virtual reality have been a huge success. you can put on a special headset and float all the way to the ceiling. take a better look at the statue of deals and so on that issue to what's important play . all these cutting edge technologies in the hematologist must be subordinate to the 19th century, a static and the culture in history. technology comes and goes in waves,

the right technological shift to every 5 years or so. we could no longer use disc is made 5 years ago, let alone those from a decade ago. some basic things must be preserved regardless of the change in technology will. and also because multiple digital technology takes away from the oscar. it's not something that everyone understands, but a digital picture is often worse than it's analog count about the same way. a vinyl record is better than a digital record disk. stepping into a room like this, this hallway is just magnificent. you kind of feel the history here. is it safe to say that there will always be a place in the world for physical museum spaces upside of the business loan? absolutely. we physically, museums will always be around. you control goal, you want about cutting edge technology and what's the energy that resides in the physical space? the energy that resides in pain, things that energy cannot be fully conveyed through technology. yes, technology is useful, but that's it. yeah,

we have simple traits of man who fault in the war against napoleon. this is the duke of wellington, but he served as a russian field marshal. so he's up that wonderful, but these are wonderful, paul tribes over that. we've got equipment that provides detailed information about every welcome thought. so because what i'm working on with this is one of the ways technology can help us solve that. but it still comes down to people who are you. there are many poems written about the people you see here, and they certainly agree with the kind of energy that helps you invest yourself in the history with likewise, these photographs here help you understand what it was like in the us of the great patry arctic wall during the siege of lending dread when the weather know port rates on display. yeah. look only empty frames or 3 of nearby even without the portraits. display still had a way to speak to people. so let's say a new piece becomes available, and information comes with a new day got, or a new renoir is discovered. what is the process? how does the museum go about applying that piece? and can you talk me through?

how do you find out about it? and how do you get it here to that? how much the especially if we don't buy things like a new day god, because we already have many of his lex. secondly, we don't always have the funds to make such grand purchases. good, when we do come across something that catches our interests to get okay, that was a special committee that looks at the item. so that provides us a detailed description and delivers an opinion on whether or not we should buy it. then with the committee, we have a discussion to answer to key questions for me, or do we really need it and can we afford it? and i think if we can, we start raising the money while i thought you can feel, i can think of one famous paintings. let's go to south on a monday by, you know, davinci did. so then these people went around trying to sell it to everyone or what they brought it to us as well. so the original have cost, but once we looked at the painting, we knew right away, it wasn't what we needed to simplify this. we had the best of paintings, but differentiate and we also have better paintings from the same school of

painting. in fact, we even have a better salvage on monday painting by taishan. occasionally there is a piece we would really need to buy, in which case we get all worked up for reaching out to the sponsors, the patrons come up and get them to buy the piece for us. and so that will typically, the item is not some of the height painting, but a specific look about the height montage would benefit from number in the number to me, 1000 more. you mentioned what does the hematologist need or what does the hermitage that you really, really want to tell me? as is the director here, what would you really, really like to add to the hermitage collection? honestly, icons name, many things i do once you've simply come by, we could use of the mirror. i guess it's really difficult to get a decent effect. me. boom. every once that was a spin me, a painting on the market and they said, surely some russian tycoon will buy it and donate it to the home. a dash that was mo tycoon. with the painting wasn't that good either. you just can't get your hands

on quality. gosh. and then when it comes to 20, essentially contemporary off, we have old essentials. we've got done some music by my teeth. we've got some value which is black square, a gift by the way. and we've got the red wagon, but good luck of both that with a nation. we have some wonderful paintings, but on some key fact. so i'd say we have the 20th century covered as for the 21st century, there aren't any office that we could use a kind of a related question, but um, a little more personal. what is your favorite piece, or maybe something that is closest to your heart here in the bush? now that's a big question. at the montage, there are 2 types of questions that are forbidden for. why i, where am i scuffle the time? and what's my favorite painting? if i reveal my favorite painting, people will keep giving me reproductions of it all the time the director of the hermitage has a right to a private life. and then i have a book called director's choice and it lists all the pieces i have personally chosen. and those on my personal favorites, just the ones i suggest,

everyone should see to better understand what the home attach has to offer. now we know that uh, the hermitage has large vaults, a huge collection in of museums like the losing, the smithsonian, the united states. they have about 7 percent, only 7 percent of their collection on display for the public. um, how much do you have available to the public percentage wise? especially doug, that's not the right way to look at. it appeared it was for us, the museum is not a gallery because it exists to show only a small part of the collection. every museum consists of collections. if you don't have collections, you will not consider the museum. the people in charge of these collections study restored and present of exhibits some of these exhibits auction to the public and museums when that's where you'll figure comes from is usually due 10 percent in the laundry museums and smola museums to figure it tends to be hot out and then this doesn't apply to the hematologist tool in over many years we have built

a large complex of open storage facilities cool down the thought that i started out there to have. now that's old village and ship a couple of our exhibits are on display that don't like in here, where we've got a couple of paintings on each wall over there. we've got hundreds and hundreds of them, munificent people go and explore. the storage facility is just like they go to restoration studios to see what else specialists do with these works of art and overall, which was we went to the started yet, did they have now restoration and storage center for ourselves to see where age warn masterpieces get a new life larry, what you're doing is incredibly interesting. thank you for taking the time to speak with us. um, i've been looking around i see in your tool kit, you have cotton swabs. you have scalpels. it seems more like a surgeons tool kit. are you an artist, or are you more like a, a doctor or

a surgeon as low as the level 2? and as you are right, there are lots of similarities between medicine and restoration. young. we have similar instruments and do intricate work that requires focus. we care for paintings like doctors and medical professionals, treat people we treat canvas is the ideal situation is when there is a balance between artistic and surgical work. um and you must have both beach and book. sometimes you have to perform complex technical things that don't require artistic skills, but then you get to colors and cleanings. in order to do that, you have to know and understand a lot about art. like in medicine, good doctors will study for decades. restoration requires that to you, and we have various schools that teach the trade from the basics to the top level. it could take decades to become a qualified specialist in this field, this afternoon. the new, much practical ocean with the city. so

a time can do very bad things to paintings, to all of this, actually. is it possible to restore any type of painting based on any type of damage? the stooping it from the beginning of the yes, there are various degrees of damage. but sometimes it's very minor and doesn't require that much work. and other times we get a severely damaged and painted with when to continue with the medicine analogy. extensive surgery or treatment is required at the her montage. we have exhibits that have had a troubled history. they've survived the wars and all sorts of painting on restoring the right now is by john proves to be a belgian artist who lived and worked at the turn of the 15th and 16th century. so there was an amazing story behind this painting that was trapped inside a wall for a long time. in the 1650 this, there were and i clinic campaigns, and many artworks were destroyed. this painting was hidden behind the church wall

and bruised from the remain air for the 230 years. so was discovered by accidents of the, from the french, destroyed the cathedral for that sort of thing from us, from china. what is the if i may ask the most, a damaged painting that you personally ever had to restore? this painting is an example of how some artwork has been badly treated. it is also by young provost, and initially it was the same size as this one. the painting was intended for an altar, and so it was over 2 meters. now, only a fragment remains young, which was cut out of large can was it of it was painted over to fit into the new format. this golden background, which was just covered in black paint. i don't understand the artistic value of that decision, which i guess they were guided by some popular trends of the time. but this is an example of the terrible damage that could be done to a painting. this is when it's cut into pieces here, washed out of it was painted over when is that changed drastically with in

accordance with the trends or anything like that to a point. our goal is to restore the original appearance intended by the author in some parts history is based on the original works of the colors and college. in order to avoid the false attribution or other misconceptions, we need to uncover the truth. and that is what we try to do. if possible, we remove all other layers and then cover the original painting, presenting it to the viewer, and the way it was 1st created some customer, eval larry. i've been watching you work. so i think i'm ready. are you ready to give me a try? i want to help me the you have, i think you will have this opportunity after you've studied the trade for 10 years or so. we know of situations when people without any special training, try to do this work and end up ruining everything. so why wouldn't recommend it so? so not today. andre, thank you very much for meeting with us today. uh,

the work you do is very important, in my opinion, you're incredibly brave to take your hands and put them to history like this. talk to me about the process when the painting comes in until when it goes out. how do you do your work? which is 1st, we evaluate the condition of the paintings and you know the extent of the damage and develop a restoration plan. after we make sure that the painting is being sufficiently consolidated, then $81.00 crumble. we figured out if we need to use bonnet or reconstruct last fragments this stuff. this is from case to case, whole paintings required clearance work sofa the restoration. so consolidation is the most important step and one thing that impresses me is the use of color. sometimes colors can be found like they were originally. so what do you do? do you just take a new paint the new color and put it in there because a trained eye? you would notice,

but i wouldn't notice the difference between the blue that i find in the store today in the blue that was used originally. i guess the some colors are impossible to replicate, even though we have equivalence for some like synthetic. also, maureen, some other like of a natural red pigments that were made from bugs and snails. nobody's replicating those processes today. we've replaced them with advance and facing materials. you know, at the same time the kids to have a good grasp of the office, the technique and methods, the pigments that we use. and that helps you find the correct approach to the restoration flight imitating the office as closely as possible. now, um, as we spoke a little bit about this off camera, but does you have to go down to the original layer to make sure that you restore a painting down to its original glory if you will. there have been famous examples of people who think that they're doing the right thing and things that they're doing a good job and have a chance done tremendous damage to the work. how do you prevent that and

does it break your heart when you see those sorts of things on my newest, little in the garden? useless cough. sometimes i'm a chicken service spoiled, paintings that often comes to life is the damage is usually obvious. actually the rule is very simple here, focus on the loss and then try to become a coal set of fine arts can sub is a can sub a 1st and foremost, we must suppress our create of a done. we only restore once lost a mistake. we all, it's on our work table here with look into 7 should be reduced to a minimum. oh golden rule only do what's necessary. what's the best path to our goal is the path of least impact of what i thought it was also a great quote from says i branded restoration ends. what assumption begins, not everybody works buddies was some a so self confidence. they say they know what they're doing and not doing it right . but in fact, with parents as a 100 percent confident, this profession is not for them. you should always have a grain of doubts. let's think there's something about that haven't been said i'm

a little bit of an artist myself. i i have the uniform who address the same way. do you think i can try my hand today and we can start, i can work here together with you. very, very strict supervisor and all right, thank you again for taking the time. appreciate it. thank you. now we've spoken with the restoration artist. they have a very important job. any credibly tense job. what happens if you get a piece that is as to damaged it to be restored? do you keep it in the vaults, or do i do keep it for historical reasons or if it goes to that us. uh, initially the decision is made by an ex but commission on a case by case basis. but most of each item has doesn't own the conservation rule in the venice chapter out of the problem it says we shouldn't rebuild. once gone with michelle didn't mirror and syria were involved in the restoration process. we often here and it still gets destroyed. so let it be a going way,

not crazy vandals build acid, or the rembrandt done. they don't know. some parts of it will last forever. little more when you're suppose some suggested we shouldn't do in a single we so, so that'd be a monument to vandalism. having issue was that, but in fact, it's important to restore it to sound data, to the extent of what's possible, because it's not about painting a new. we've conserved what we code, unless something pops out and damaged beyond repair. but still, nobody's done a, as a mazda base with somebody, even though its appearance has changed. and every time we have to make this decision, one thing is certain. we must add another thing because the intrusion must be reversible. so then, for example, when we add vonage shows or a big hole zillow, we add the toner. so the whole doesn't interfere with the perception that was left to get these. but this kind of interference must be reversible. that allows should be removable felt like easy to stay in the home attached. our approach to restoration is very conservative. it's we never aim to restore a painting to a fresh condition that with you and that would be wrong. and then you set up the

office, knew the painting would data and what it would look like in 20 years. that's all take on the issue, but it's really quite a conservative one. but we try to restore paintings to let the visitors enjoy them . you'll, if the piece is destroyed completely, however, we have to wait. we have some of that piece of the greats. outfits us, but we have a lot of them in our collection. and their exhibition is coming soon. go shopping with them. some of them look, consider damaged beyond repair, to ship with new technology rolled in, and now they're restored. even though we didn't add anything to them, so just revived and reshape the damage and bots me for the studio. um you have said that arts and exhibitions are in important cultural dialogue. now that a dialogue between countries and has become complicated, let's say do you think that art can serve as a moderator to help get people talking again, get countries talking again. we have the wish to come to the storm and my children,

in my opinion, international dialogue will resume through museums and exhibitions. we've been here before during the cold war. you know, most of the dialogue between museums precedes the re, establishment of diplomatic relationships with other got the opposite is also true . museum exchange between russian when the united states and discontinued 15 years ago, it was the 1st signal that nobody knew back to them that it was to harold, a new page in our relations sort of deal dialog continues to get. we have telecommunications that let us check treasures across the board as adults and many other exhibitions. and he was also exists for most of the interactions when stopped completely so and we always trying to negotiate any obstacles we encounter through this. and they were a lot of them in the past. the home it touches, history spends 3 revolutions, 3 was evacuations, exchanges, and everything in between. the open stuff we've been that we know what to do was to sort of, we know all way around the colonize ation. as well did, we have vast experience designed by keeping up

a work and settles that we explore opportunities to build new bridges with our colleagues on the foundations of bunch, one like that. most of us now, museums are kind of like a living organism. they breathe, they need oxygen. so you need freedom, you need a movement so that people in different countries can see your exhibitions and breathe life into the hermitage. what destinations would you like to take? the love of this place? the 2 next. on the scroll, as i said before, it's cloud technology where you've even on youtube with virtual tools, have so many views youtube. we couldn't even dream of that. number of the young person visits as we've learned to independent academics, and that's great to have it in. okay, the less we still have partners that remain accessible to us. like in the gulf states coach or twin museum, the lieu of, i'm a w, for example, is gone, go to the lose these days. but in abu dhabi, the doors are open on this, we have collaboration projects in china, malaysia,

and southeast asia. so people who miss out on the opportunity to visit russia with that. but we love it much more when people come here or visit our online exhibitions. let's see if we're reluctant to transport pieces elsewhere, just missed perilous, too dangerous to take all collections to other countries exhibiting them here or on the internet is much safe. so the professor, thank you very much. it has been an incredibly interesting conversation and the fascinating place, of course. thank you. my pleasure. thank you. the known in vietnam as the american war,

the vietnam war lost it for almost 2 decades and dragged in numerous countries northern red mountains. but i don't know why it's all i'm empty. hundreds of thousands of american troops was sent to the country to bank the south vietnamese on me. i not that not, but to supply the american soldiers, limited resistance mercilessly burned down entire villages and spread dangerous chemicals. and lee, by all right, did the americans ever fully acknowledge what they did on the vietnamese veterans ready to forgive? yes, yes. yes. that's a waste too. small

the best of both known issue, but for the mobile, when he was an annual g d. p per capita, it was about $4000.00 euros. the we've got lots of colors and a mobile notary watched here the sleep of man. i've got a near planet across the seal with us really into photo me. so just let him all the classes. nature little spot, the just single, the thought of unemployment is off the charts. most of us territorial integrity in sovereignty. we respect the country which enjoys financial support from the us. m b u is constantly roth by political and corruption scandals. but all the students,

the training you can do that status in 2022. the rest of the stuff to come out arrives in india is a capital represent his country at the upcoming at g 20 summit this weekend, the well, we are coming to live from new delhi for our special coverage. all be the 20 summit . a lot of the building anticipation here that the african union will be granted full fledged membership in the organization. stick with this here in our to international for all the latest developments this our, from the hearts of the indianapolis also ahead us troops are currently on the move in to hit new share that very contingent once shopped at the top us lawmakers who weren't even aware of that americans military was present in the west african country.