think in these, this is going forward. yeah, that's the big check. that is going to be easy. i read throughout the app or got these a lot to navigate within, explore the lot of business opportunities and to, to is numbers going in and out of a ally weekend. yeah. so that's, that's a big part of it cuz that's, that's a big picture. okay. and see, so i think the same thing is getting better. i mean, we, i mean, you know, in 10. yeah it's, it's hard to, it's, uh, uh, is obviously thousands. how does uh, economy getting weaker from in different parts of the year. but i'm looking for the how would you say that can you could perhaps become a stronger partner within the african union. one of the things is the opportunity to know that is coming into the country. but you see uh, i think the tourism possible, the flags that uh we know,

skies flights to land directly in the bottom which had been stopped. so that means to be more access coming into the country. uh, opportunities that are now open one to the to j. u and the original, i think up can you being one of the leading uh, economies in uh, in the region. are you going to be booked a mistake and you know that it's going to happen and is the best. ok. yeah. and for africa. right, right. that was of the, the goes does continue on the content of it. and so if it's a good time advocating coast to is an association, thanks so much for joining us today. thank you. thank you. as well. most of this news out as always, it's great to have your company with us today. we'll be back in just a few minutes just about 25 minutes or so. that gives us the

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the western backers have high hopes for ukraine celebrate encounter offensive. but alas, they were just hopes and illusions. the cruel reality on the ground demonstrates that nato and to live in a world of magical thinking. pray, pay the price, the, the,

the museums are important for preserving our history so that it is 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 i'm a touch in saint petersburg to help for us to use the director here. and i bet he has some answers. the student, the history is always biased, the energies that resides in the physical space. the energy that resides in pain, things 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?

very various otherwise are sort of 2 types of questions that are for bid fly i. where am i scuffle the time? and what's my favorite painting? professor gitovski. nice to meet you. thank you very much for hosting us here. um basically uh, this is a hermitage, 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 it to the lives in the, in the right now live in the winter palace as it's part of the how much ammonium and to rush and state code to compare. but also a website, myself museum. i do hope the hematologist hasn't changed much and said he is on job is to present of this wonderful 19th century museum and make sure it continues to tell stories. it takes a lot of the world to keep it from changing. and you know,

that's why we've launched the great honda tosh project. and so it's an entire complex of facilities including the new buildings on palace square. as a result, we've doubled our exhibition space where we think we've also opened a storage facility at home at our starting until you have now. so that's old village. finally, we've established a number of satellite museums and governments. our previously we had had montage satellites in russia and all around the world was even, even for now, only the russian branches are active with us while the hematologist of mountain high tech museum with a global presence. the worst of i believe it still manages to preserve the spirit of the 19th century. so history, it changes, people can manipulate history if you will. uh, based on their own agendas. uh, how do you keep a history from being changed so that you can so that it is non biased and sensitive as, as impartial?

no, is fluid or didn't cause any, but history is always biased, whom we see what our 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, reports, and every person learns different things from different sources. but what makes our museum great is that while we have our own view points would be let everyone tell this to read the way they wants to tell it and see about us. let me give you an example. we were about to enter the gallery dedicated to the patry eltic war of 1812. and so the painting was the which to pick the back a little, but it 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 french victory. history is always biased that way. yeah. the we've also got paintings of the battle of ben is enough for 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 it? did. we also know that the commander of the russian army, yet that is enough,

was not included in this series of full traits because he let napoleon zone go and get away or flush. 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 they use augmented reality may be a how is the hermitage adapting to this? do you have exhibits that use a new technology, logistical shape, and typically, and now in the process of creating what we call the select steel hematologist, much of what we do involves cloud technology performance. i will, this is especially relevant today jessica, 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 to us to discover its treasures. besides, all of our 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 put on display physically in other museums as part of home attached days, full blended reality. and virtual reality has 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 c us and so on. that issue to let importantly, all these cutting edge technologies in the hematologist must be subordinate to the 19th century aesthetic culture and history. technology comes and goes in waves, are a technological shift to every 5 years or so. we can no longer use disc is made 5 years ago that alone, those from a decade ago, some basic things must be preserved regardless of the change in technology. well, i'm also because multiple digital technology takes away from the oscar. it's not something that everyone understands, but a digital picture is often less than it's at a low 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 alone? 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 paintings that energy cannot be fully conveyed through technology. yes, technology is useful, but that's it. yeah, we have simple traits of men 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 a wonderful pull tribes over the we've got equipment that provides detailed information about every work about it. more than what this is, one of the ways technology can help us open that, but it still comes down to people who are many poems within 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 leningrad when the weather. no portraits on display here, only empty frames or 3 of nearby, even without the portraits. this place still had a way to speak to people who doesn't this much. 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 acquiring that piece? and can you talk me through, how do you find out about it? and how do you get it here to that haven't touched the field with me. firstly, 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. but when we do come across something that catches our interests to get okay, that was a special committee that looks at the item. and that provides us a detailed description and delivers an opinion on whether or not we should buy it. and then with the committee, we have

a discussion to answer to key questions. do we really need it? and can we afford it? and i think if we, can we start raising the money. well, let's, let's compare, i can think of one famous painting, but so, so if it's on a monday by, you know, davinci did, so then these people went around trying to sell it to everyone, what they brought it to us as well. so the original of course, but once we looked at the painting, we knew right away, it wasn't what we needed to simplify this. we had best of paintings by differentiation. 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 the chicago, in which case we get ahold worked out for reaching out to the sponsors and the patrons come up and get them to buy the piece for us. and typically the item is not some approve a height painting, but a specific look about that. the hematologist would benefit from, well, it's not the same. and the nominal massage, or most you mentioned, what does the hematologist need or what does the hermitage that you really,

really want to tell me as, as a director here, what would you really, really like to add to different types of collection? honestly, i can't name any things i do once you've simply come by, we could use of me or i guess it's really difficult to get a decent if that means that once that was a spend me a painting on the market. and they said, surely some russian tycoon will buy it and donate it to them a josh, we knew that was move tyco and the painting wasn't that good either. that's you just comp get your hands on quality andre. and then when it comes to 20, essentially contemporary out we have old essentials. we've got done some music by my teeth. they've got some value which is black square, a gift by the way. and we've got the red wagon, but the bulk of we'll start with a nation. we have some wonderful paintings, but on some key thought. so i'd say we have the 20th century covered as for the 21st century. there aren't any authorized yet that we could use. it's 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 heart of the fish? now that's a big question. at the montage, there are 2 types of questions that are for bidding for why i, where am i scuffle the time? and what's my favorite painting that's good. 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 they have a book called director's choice. and that is, 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 hermitage has to offer. now we know that the hermitage has large vaults, the huge collection and museums like the loop and 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. 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 for people in charge of based collections study, restored and present of exhibits some of these exhibits auction to the public and museums. and that's where you'll figure comes from. this usually do 10 percent in larger museums in smaller museums to figure it tends to be high out. and then this doesn't apply to the hematologist tool unit. over many years we have built a large complex of open storage facilities cooled down the thought that i started 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. and people go and explore the storage facility is just like they go to the restoration studios to see what our specialist to do with these works of art and overall, which was of the we went to the started yet does 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 referral as to level 2. and as you are right, there are lots of similarities between medicine and restoration. that we have similar instruments and do intricate work that requires focus. we care for paintings like doctors, 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 vision book . sometimes you have to perform complex,

technical things that don't require artistic skills, so, but then you get to colors and cleaning. okay? 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. yusef clinical hasn't even much practical ocean with the city. so a time can do very bad things to paintings, to all of this actually. um, is it possible to restore any type of painting based on any type of damage the steeping? it probably isn't even one. 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 painting 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 centuries. and there was an amazing story behind this painting that was trapped inside a wall for a long time. in the 1650, there were an iconic campaigns and many artworks were destroyed. this painting was hidden behind the church wall and bruised from the remains air for the 230 years. as i was discovered by accident until the french destroyed the cathedral from china . what is the if i may ask the most, a damage 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 in the end. initially. it was the same size as this one. the

painting was intended for an old term, so it was over 2 meters now only a fragment remains young, which was cutting out of the large can reserve. 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 what is cut into pieces here, washed out of it was painted over. when does that change drastically with in accordance with the trends or anything like that? i took point. our goal is to restore the original appearance intended by the author in some parts. history is based on our original works of the colors and how it is in order to avoid 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 don't cover the original painting or presenting it

to the viewer. and the way it was for us created some customer novel area. i've been watching you work. um, i think i'm ready. are you ready to give me a try? i want to help me. yeah, 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. 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 all 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 varnish 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, is it, the 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 a 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 not some colors are impossible to replicate. even though we have equivalence for some like synthetic. also, maureen, from other like of a natural red pigments that were made from bugs and snails. nobody's replicating, those processes today. we replace them with advance in facing materials, you know, with 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. mm hm. 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 just 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 as the damage is usually obvious. actually the rule is very simple here, focus on the last 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 the gums and we only restore once lost the myspace. the all, it's on our work table here, we're hoping to save and she'll be reduced to a minimum. oh,

golden rule only do what's necessary. what's the best path to? well, goal is the path of least impact of what i thought it was also a great quote from says i brand a restoration ends. what assumption begins, not everybody works by these what some a so self confidence. they say they know what they're doing and then doing it right . yeah. but in fact with, for parents as a 100 percent confident as profession is not for them. you should always have a grain of doubtful. looks invested in us that haven't been said. i'm a little bit of an artist myself. i. i have the uniform were dressed the same way. do you think i can try my hand today and we can start? i can work here together with you. the very, very strict supervisor. 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 not? if the cause of 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 problem mirror and syria were involved in the restoration process. we often hear of in itself it's destroyed. so that'd be a win win. that's crazy vandals spilled acid, or the rembrandt done. i don't know. some parts of it will last forever. little more when you store some suggested we shouldn't do minus thing we so, so that'd be ammonia meant the vandalism of an issue. was that, but in fact, it's important to restore it to a phone due 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 piece 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. then usually, for example, when we add volunteer shows or a big whole zillow, we add tone, us as a whole, doesn't interfere without perception that was left to get these. but this kind of interference must be reversible. that last shouldn't be removable for all of you to stay in the hermitage, our approach to restoration is very conservative. it's. we never aim to restore a painting to a fresh condition that was given them. that would be wrong. and then you said i need the office, knew the painting would date 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 . if the piece is destroyed completely, however, we have to wait. we have some, a piece of the grades outfits us, but we have a lot of them in our collection. and their exhibition is coming soon. we shuffled with them, some of them were considered damaged beyond repair. the ship with new technology rolled in. and now they're restored for steve and they,

we didn't add anything to them. so just revived and reshape the damage and thoughts nice if it is still. you know, 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. the other wish to come to the spelling and mature. in my opinion, international dialogue will resume through museums and tech solutions. 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 50 and years ago and understood, it was the 1st signal that nobody knew back then that it was to harold. a new page in our relations stood still. dialog continues to get. we have telecommunications

that let us share trashes across the board as adults and many other exhibition venue is also existing for most of the interactions when stuff completely soft. and we always try to negotiate any obstacles we encounter through this. so, you know, we're a lot of them in the past. the home it touches, history spends 3 revolutions, 3 was evacuations, exchanges, and everything in between the stuff we've been, that we know what to do for support. we know all way around the colonization 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 was the most. now museums are kind of like a living organism. they breathe, they need oxygen. um, you need freedom, you need a movement so that the 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, virtual to us, have so many views you to be couldn't even dream of that number of person visits as we've lends to independent making. and that's great, it should be less. we still have toughness that remain accessible to us. like in the gulf states go to a twin museum. the lou of adobe, for example, is going to go to the loop these days, but in abu dhabi, the doors are open on this. we have collaboration projects in china, malaysia, and south east asia as the 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 say we're reluctant to transport pieces elsewhere, just a minute 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.

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presented to this, but can you see through their illusions, going underground again? the adult story is this, our rushes, something different math arrived in indians capital to represent the country at the upcoming g towards east summit this weekend, especially on the coverage of the g. 20 summit. all the latest developments right here in our to you from the heart of the indian capital throughout the weekend. that's us. there's rising anticipation for the african union to be grouped in full fledge membership and the organization. and i saw no sir, is there any ties between african nations? kenya and the d. c. remove visa requirements for each of those citizen and 5, and extends executive orders on a 4 election into pharaohs for another year. the credit, it's