 Yeah, I'm Nikolai and I'm not a technician. I'm an artist, visual artist, and I'm going to present you the other Nefertiti project which we did recently. I say we because I didn't do it alone. I work with a colleague which will give tomorrow, she will give tomorrow a talk as well. And I I'm gonna briefly through what we did so you'll get an idea of it and then we're gonna talk about the role of museum as a gatekeeper as and I try to link our world from the culture and from a culture heritage perspective to what tech and science can do with it. Where are the links between these? So the Nefertiti is a bust the bust of Nefertiti is a more than 3,000 year old artifact which is stored in the or on display in the Neue Museum in Berlin and it originates from Egypt from ancient Egypt and 100 years ago or more than 100 years ago. It was brought to Berlin and and it is a public available for those who can travel to Berlin and to visit and pay their entrance fee to the museum and then you can have a look at it, but the high-resolution data which the museum scanned the object and it's not available to the public and this object stands for thousands and millions of other artifacts which are stored in museums around the world and me as a German I have this perspective on European museums and it's always when you visit these museums you can feel the notion of colonization which goes along with these artifacts. So we decided to okay, now we plant a coop and we we figured out where the watchments around the museum these busts were really high secured and there are two permanent watchments and two more in the passways, so we figured out the wisdom how they move and then we stepped in with a scan device and scanned the bus so finally we did an art heist by a digital art heist if you want so and this is a video you can see it online I go through because we have to hurry and this is the outcome of these heist and it's really high-resolution dataset and then on the CCC cows Computer Congress in end of the last year in Hamburg we released the data online so if you go to this address you can you can download a high-resolution dataset of this Nefertiti if you are interested in 3d printing or stuff like this or just play around within in 3d programs and I Mean what what's about the aim to do this we reclaim the the cultural institution as a public space again So we we don't we don't want Administration to decide what is culture or not we are the people Doing the culture so it's not up to the to the institution or some administration guys to decide what is culture and what is culture about and But we come later back to this I gonna step then then we We this was on the airport security we made a 3d print and we traveled to Egypt to exhibit this bust for the first time in Egypt So in the airport if you this This for non-Egyptian arrival you have to sign these papers and you find the the image of her as well there and In the airport as well in the entrance hall you can find this Sculpture which is Meant to be Nefertiti as well, but so there's no access they had to have to do it like this and another example is this one which is a huge one in some entrance of a village which Sculptured it and it It provokes a lot of Viral reaction in the internet so he had to remove it again So but before we before we Exhibited the bus in Egypt We We launched this video. It's very hard to see I guess but we staged a second find of the of a second bust so in the internet on YouTube you can find a lot of videos from Guys who are digging for for artifacts because it's full of Artifacts over there and then they try to sell it on on eBay or on on the internet so and this Illegal market it's loud UNESCO. I'm Maybe they can correct me my former speaker. It's a source biggest illegal market in the world after weapons and drugs So this is really an issue and But I can't go deeper into this because we have to move on but it is an issue really So then we Exhibited the bus there in downtown Cairo for the first time and We launched in the German newspaper We told them in the newspaper. We told that we're gonna release the data and the the journalist called us the Robin Hoods of Antiquities and Thanks for that and now here's again the the Domain where you can download it and now I try an experiment. I don't know if it worked This was the reaction of all what? On the internet of all the people but downloaded and and this is the experiment Okay, the the reaction was huge. There was a lot of people scanned printed it and played with it around and and then the They called us double gangster in in in Holland in Netherlands and The the New York Times had to go Double through it because there were some discussion and false information inside. It was a huge discussion on BBC took it up and But now I want to come to What it is about like? Why we did it. I mean I Gonna read this maybe With this controversy of ownership in mind about in my colleague and Nellis also want More broadly for museums to reassess their collection at the critical eye and Consider how they present and the narrative of objects from other cultures they own as a result of colonial histories the fact is that in in from a European Perspective most of the cultural heritage is from the global south so we storage the heritage of other cultures and This leads to I Gonna make it more quick. These are the museums Sorry, I'm lost. I skip this Okay, museums serve as an ideological role By separating artifacts from their origin and depriving people of their historical memory so there's a huge movement and ideas around the Scene that these kind of museums either being should be closed down or March with other museums or else reinvented as centers for multicultural debates says The creator from Trob museum in Amsterdam which As exactly especially it's a it's a good example the these kind of these museum particular and It is about possession it is to to possess These objects is the only function which which stays when when the When the Deconsexualization happens, so you you you get it out and you bring it to another to another Context and then the the function is it's not there anymore and there's a By the way there the the most visit museum in in Germany it's a BMW museum like you have to imagine it's about museum and it's about culture and the the most visitors Reclaims the or goes to the BMW museum like for cars This is this is something what what I concern about what I think they're there's a lack of of Considering of the conception to have something or to be in it And Sorry, I'm a bit lost actually I think what what's it what's important here? It's that that we That that we We can use how we can how can we use technology? I'm not I'm an artist I'm not I'm not an expert in anything we have help from from experts and friends of mine are good hackers But I I reclaim hacking as an as an piece of art as well like To do something with technology and as well I consider some of technicians They are more artists than than only technician, but it's always the dual use It's always what what you can what you are doing with it. So I Think we can use technology in so many ways to preserve cultural heritage and I'm so lucky that UNESCO is here as well They are they are trying to to work in on this field as well and But it's important that it's not we can't we can't Give it up to to some institution or govern governments to do it So there's a there's a cultural value Which which has to come from us from the people and we should We have to reclaim the museum a public space and we have to We can decide how we're going to use the technology and the the open approach for No, this first approach. I think this fits very well with what what we are thinking on On culture and on art as artists And with that, thank you very much You