(SOFT ACOUSTIC GUITAR MUSIC)
- [MARIA] WE'RE GONNA PUT THE
MIC AROUND YOU, KRZYSZTOF,
AND HIDE IT.
- [KRZYSZTOF] OH NO, DON'T HIDE
THIS. I HATE HIDING.
- [MARIA] HE NEVER
WANTS TO HIDE IT.
IT'S VICTORIAN
HIDING TECHNOLOGY.
MY NAME IS
KRZYSZTOF WODICZKO.
(ATMOSPHERIC MUSIC)
(KRZYSZTOF MUTTERING)
THEN YOU CAN DO MONTAGE.
YOU CAN FIGURE OUT WHAT
YOU NEED OR DON'T NEED.
YOU CAN FIGURE OUT WHAT
YOU NEED OR DON'T NEED.
(SOFT INTRIGUING MUSIC)
- MY FIRST ENCOUNTER
WITH HIS WORK,
I WAS JUST LIKE AS
A YOUNG ARTIST
LOOKING FOR OLDER
ARTISTS WHO HAD DONE
WHAT I WAS TRYIN' TO
FIGURE OUT HOW TO DO.
KRZYSZTOF IS RADICAL.
HE'S BADASS. (CHUCKLES)
(SOFT INTRIGUING MUSIC)
IN THE MID 80S, WODICZKO
HAD PROJECTED A SWASTIKA
IN THE MID 80S, WODICZKO
HAD PROJECTED A SWASTIKA
ON THE SOUTH AFRICAN COUNCIL
WHICH I THOUGHT WAS AMAZING.
SOUTH AFRICA WAS
A RACIST COUNTRY.
THE ANTI-APARTHEID MOVEMENT
WAS BIG IN THE WORLD ACTUALLY
BUT PARTICULARLY ACROSS THE US.
(SOFT INTRIGUING MUSIC)
- [DREAD] MOST ARTISTS
DIDN'T LEARN ABOUT ARTISTS
WHO WERE DOING INTERVENTION
IN PUBLIC SPACE.
THE FACT THAT ART DIDN'T
HAVE TO ASK PERMISSION,
THAT IT DIDN'T HAVE TO
BE IN A REFINED SPACE.
THAT WAS PHENOMENAL
THAT THE ORDINARY PUBLIC
COULD JUST SEE IT.
(SOFT INTRIGUING MUSIC)
- AN INTERVENTION IS ART
THAT INTERRUPTS THE EVERY DAY
IN SUCH A WAY THAT
IT MAKES PEOPLE
HAVE TO RETHINK THEIR SITUATION.
AND I THINK IT GOES BACK TO
THIS CONCEPT OF THE AVANT-GARDE
TO MERGE ART WITH LIFE.
IN ORDER TO DO THAT,
YOU HAVE TO TAKE ART OFF THE
WALL AND PUT IT IN THE STREET.
(SOFT INTRIGUING MUSIC)
- ON A C-130 AIRCRAFT,
THERE WERE TIMES THAT
WE HAD TO MOVE BODY BAGS
AND THE BODY BAGS WAS
NOTHING BUT SHELLS OF THE GI.
AND THE BODY BAGS WAS
NOTHING BUT SHELLS OF THE GI.
WHAT HAPPENS AT THE
MAKESHIFT MORGUE
IS THAT THE BODIES ARE SLICED
ON THE BACK DOWN THROUGH
THE WAIST, I WOULD SAY.
THE ORGANS ARE REMOVED.
ONCE ALL THE ORGANS
ARE REMOVED,
THE BODIES ARE SEWN BACK UP.
IT'S NOT THAT I EVER SEEN
IT, BUT I KNOW WHAT IT WAS.
I KNOW THERE WERE AMERICAN
GIS IN THOSE BAGS.
I KNOW THERE WERE AMERICAN
GIS IN THOSE BAGS.
(DARK FOREBODING MUSIC)
(CLAPPERBOARD SNAPPING)
- ALL RIGHT.
MY NAME IS NELSON LOWHIM.
I AM A VETERAN
HERE TO TALK ABOUT MY
EXPERIENCE WITH THE ARMY
AND WITH MY TIME IN IRAQ.
I WENT IN WHEN I WAS AROUND 22.
I WAS INITIALLY
VERY ENTHUSIASTIC,
I WAS INITIALLY
VERY ENTHUSIASTIC,
VERY BELIEVING, I GUESS,
NAIVE TO GO INTO IT.
I WENT IN WITH ALL
THESE GREAT HOPES,
YOU KNOW, THESE BELIEFS.
THIS SLOWLY STARTED TO CHANGE.
I SUPPOSE WHEN A WAR STARTS,
THERE'S A CERTAIN DRUM BEAT
WITHIN WHAT SOCIETY SAYS AND
WHAT IT DOES TO GET YOU TO GO.
AND SUDDENLY THAT DRUM BEAT
JUST KINDA DIDN'T
MAKE SENSE TO ME
OR DIDN'T SOUND
LIKE A BEAT ANYMORE.
IT JUST SOUNDED LIKE NOISE.
AND THAT'S WHEN I SUPPOSE I
STARTED TO DOUBT THE REASONS.
AND THAT'S WHEN I SUPPOSE I
STARTED TO DOUBT THE REASONS.
THE REASONS FOR THAT WAR.
I WAS IN AN NYU VETERANS
WRITING WORKSHOP.
SO THEY PUT OUT AN EMAIL
SAYING IF ANYONE'S INTERESTED
YOU KNOW, THEY WANT SOME
VETERANS TO TELL THEIR STORIES.
- [MARIA] WHY DID YOU
THINK WE WERE IN IRAQ?
WHAT DID THEY TELL YOU?
- WELL THE MAIN THING I HEARD
WAS THE WEAPONS OF
MASS DESTRUCTION,
GETTING RID OF THIS
SAD DICTATOR, RIGHT?
- [REPORTER] THERE IS NO
DOUBT THAT SADDAM HUSSEIN
- [REPORTER] THERE IS NO
DOUBT THAT SADDAM HUSSEIN
NOW HAS WEAPONS OF
MASS DESTRUCTION.
- AMERICAN AND COALITION
FORCES ARE IN THE EARLY STAGES
OF MILITARY OPERATIONS
TO DISARM IRAQ.
- THIS IS WHAT YOU'RE ABSORBING
FROM THE MEDIA AND ALL.
I WAS VERY NAIVE.
AND THEN YOU FIND OUT THAT
IT'S OBVIOUSLY ABOUT THE OIL.
(DARK FOREBODING MUSIC)
(EXPLOSION BURSTING)
- REPEATED THE SAME
WITH STRONGER WORDS.
YOU PUT MORE WORDS.
AND MORE TIMES, WAR AND REASON.
- SO BEFORE YOU SIGN UP,
THINK ABOUT WHAT YOU'RE DOING,
THINK ABOUT WHY
YOU'RE GOIN' TO WAR,
THINK ABOUT WHY
YOU'RE GOIN' TO WAR,
THINK ABOUT THE PEOPLE
WHO ARE TELLING YOU
THAT YOU NEED TO GO TO WAR FOR
AND SEE WHAT THEY'RE DOING.
(DARK FOREBODING MUSIC)
- [LOADER] TAKE ONE.
(CLAPPERBOARD SNAPPING)
- IN 2006
MY FAMILY LOST MY NEPHEW
LANCE CORPORAL
NICHOLAS WHYTE IN IRAQ.
LANCE CORPORAL
NICHOLAS WHYTE IN IRAQ.
I WAS THE ONE THAT SPOKE TO HIM
ABOUT NOT JOINING
THE MARINE CORPS.
I FELT THAT HE
SHOULDN'T HAVE GONE.
GO INTO THE MARINES.
AS THE FIRST LINE OF ATTACK
AND YOU'RE GOING TO
DIE PRETTY MUCH.
SO WE'RE SITTIN' IN THE
KITCHEN AND WE'RE TALKING
AND I'M LIKE, "OKAY,
YOU'RE GOING TO DIE."
AND HE JUST LOOKED AT ME
AND GAVE ME A LOOK
OF ANY TEENAGE KID.
I MEAN 'CAUSE NICHOLAS
WAS LIKE AROUND 18 1/2,
SO WE GOT INTO A
VERY INTENSE ARGUMENT.
HE WAS LIKE, "WELL THEN
WHY WOULD YOU TELL ME?
I WOULD THINK THAT
YOU WOULD UNDERSTAND
WHY I'M JOININ' THE MARINE
CORPS 'CAUSE YOU ARE MARINE."
WHY I'M JOININ' THE MARINE
CORPS 'CAUSE YOU ARE MARINE."
AND I STOPPED FOR A MINUTE
BECAUSE IT'S TRUE,
I WAS IN THE MARINE.
SO WHY AM I SITTING
HERE TELLING HIM?
I SAID, "BECAUSE WE'RE
AT WAR, YOU IDIOT.
YOU FREAKIN' IDIOT,
WE'RE AT WAR RIGHT NOW.
IF YOU GO,
YOU'RE GOING TO DIE."
HIS MOM CALLED ME TO TELL ME
THAT SHE WANTED ME
TO COME TO THE HOUSE.
"GOD, PLEASE DO ME A FAVOR.
AND JUST PLEASE,
I'M BEGGIN' YOU.
PLEASE LET IT BE ANYTHING
ELSE BUT NICHOLAS."
SHE'S SCREAMING AT
THE TOP OF HER VOICE.
"JUST COME, COME,
COME, COME, COME!"
"JUST COME, COME,
COME, COME, COME!"
SHE HUNG UP THE PHONE.
AND OH MY GOD, I KNEW.
I KNEW IT WAS NICHOLAS.
(DARK FOREBODING MUSIC)
- CULTURE OF WAR AND CULTURE
IN GENERAL OF ANY NATION
IS PERPETUATING CERTAIN
NUMBER OF SHORTCUTS,
CLICHES AND NARRATIVES THAT HELP
PEOPLE TO JOIN THE WAR.
- [MARIE] I JOINED THE MARINES
BECAUSE I NEEDED THE
MONEY TO GO TO COLLEGE
AND I DIDN'T THINK ABOUT WAR.
THERE'S A LOT OF SOLDIERS
OUT THERE LIKE MYSELF
WHO ACTUALLY JUST WENT OVER
JUST BECAUSE THEY WERE
TOLD TO GO OVER
BECAUSE WE SIGNED
A PIECE OF PAPER
AND DIDN'T REALLY KNOW
WHY WE WERE GOIN' TO WAR.
(DARK INTRIGUING MUSIC)
(SOFT INTRIGUING MUSIC)
- [ROSALYN] THE VERY
FACT A MONUMENT
WHICH EMBODIES THIS
NOTION OF HISTORY, MOVING.
HE BOTH DISRUPTS THEM
AND INTERVENES IN THEM
BRINGING OUT THE UNCONSCIOUS
WHICH MEANS THE
UNCONSCIOUS OF THE SOCIETY.
WHAT'S REPRESSED,
MAKING THINGS VISIBLE,
WHAT'S RENDERED
INVISIBLE BY POWER.
- WE NEED TO CHANGE
THE CULTURE, RIGHT?
WE NEED TO MOVE AWAY FROM
THE GLORIFICATION OF WAR,
WE NEED TO MOVE AWAY FROM
THE GLORIFICATION OF WAR,
THAT IDEA OF KILLING THE OTHER.
- [KRZYSZTOF] WE ROMANTICIZE
THE WAR,
AND THOSE MONUMENTS ARE VERY
MUCH PART OF THIS PROCESS
OF TELLING US THE THINGS,
THAT ROMANTIC VISION OF WAR,
THE KIND OF SENSE OF MISSION
AND LOFTY KIND OF SACRIFICE
THAT THE WAR OFFERS.
IT'S BEEN REPRODUCED,
REPLICATED SILENTLY
THROUGH THOSE WAR MEMORIALS.
WHY THIS STATUE?
WHY DO WE NEED THEM?
(BUSTLING STREET NOISE)
ARC DE TRIOMPHE, THE BIGGEST
SYMBOLIC WAR MACHINE IN EUROPE.
IT'S AMAZING HOW MANY
PEOPLE ARE VISITING IT
WITH CHILDREN AND FAMILIES
FROM ALL OVER EUROPE,
ALL OVER THE WORLD IN THE
MIDDLE OF EUROPEAN UNION.
ALL OVER THE WORLD IN THE
MIDDLE OF EUROPEAN UNION.
IT'S A KIND OF CONTRADICTION
IN SOME WAYS.
(ATMOSPHERIC MUSIC)
THE WHOLE NARRATIVE
OF THE MONUMENT
IS ABOUT THAT PEACE CAN ONLY
BE ACHIEVED THROUGH WAR.
YOU KNOW, THERE'S A WHOLE
SEQUENCE OF SCULPTURES
THAT SHOW FROM
DEPARTURE TO PEACE.
BUT YOU KNOW, THAT
PEACE WAS OBTAINED
AT THE EXPENSE, INCREDIBLE
AMOUNT OF DEAD PEOPLE.
NAPOLEONIC WARS PROVIDED
PRETTY MUCH THE MODEL
NAPOLEONIC WARS PROVIDED
PRETTY MUCH THE MODEL
FOR OTHER WARS,
EVEN MORE BLOODY.
YOU SEE THIS MARSEILLAISE?
IF ANYBODY BEHAVE LIKE THIS
OR ACTED LIKE THIS
IN A PEACETIME,
WILL BE IN PRISON OR
IN MENTAL HOSPITAL.
BUT WAR ALLOWS THIS
KIND OF BEHAVIORAL,
THIS KIND OF STATE OF MIND
TO BE TREATED AS NORMAL.
THE MOST HONORABLE REWARDED
WITH THE HIGHEST
MEDALS AND RESPECT.
AND ALSO YOU HAVE
THIS YOUTH.
OF COURSE, WE KNOW THAT THIS
IS ALLEGORY, AND IT'S ART.
BUT AT THE SAME TIME,
WE KNOW THERE ARE ENORMOUS
AMOUNT OF CHILD SOLDIERS
THAT ARE SENT STRAIGHT TO THE
BATTLE.
AND MASOCHISM OF WAR IS
BEING PERPETUATED HERE.
THE PLEASURE OF DYING OR
SUFFERING FOR THE LEADER
THE PLEASURE OF DYING OR
SUFFERING FOR THE LEADER
AND FOR NATION AND WHATNOT.
- [DREAD] THERE IS A
LOGIC IN MEMORIALS
THAT PERPETUATES WAR.
THE ARC DE TRIOMPHE IS OLD,
BUT IT'S BEING USED
IN THE MODERN ERA
TO RATIONALIZE THE WARS
THAT ARE GONNA BE FOUGHT
IN THE PRESENT AND FUTURE.
- I SAID, "WHAT ARE
YOU WORKING ON?"
AND HE DESCRIBED THIS PROJECT,
"TRANSFORMING OF THE
MONUMENT TO WAR,
THE ARC DE TRIOMPHE INTO
ITS COMPLETE ANTITHESIS."
BUT I'M THINKING
THE FRENCH WILL NEVER...
BUT I'M THINKING
THE FRENCH WILL NEVER...
NEVER GONNA LET HIM DO
THAT, YOU KNOW? (LAUGHING)
BUT THE MORE HE TALKED ABOUT IT,
THE MORE IMPORTANT
I THOUGHT IT WAS.
- [KRZYSZTOF] SO THIS
IS THE PROJECT.
IT LOOKS PRETTY NASTY,
I HAVE TO SAY.
BECAUSE IT WANTS TO BE
MORE OF AN INTERVENTION
TO REALLY ADDRESS THE
ISSUE IN A SHARP WAY.
BUT I THINK IT SHOULD
BE LIKE A SCAFFOLDING
BUILT AROUND THIS MONUMENT
WHICH WILL BE DECONSTRUCTIVE
STRUCTURED INSTITUTION
THAT WILL GIVE A CHANCE
FOR PEOPLE, TOURISTS,
THAT WILL GIVE A CHANCE
FOR PEOPLE, TOURISTS,
TO JOIN UN-WAR PROJECTS AND
ANALYZING THE CULTURE OF WAR.
(SOFT INTRIGUING MUSIC)
- IT MAKES YOU START TO
LIKE, QUESTION WHAT IS WAR?
WHAT IS THE
MECHANISMS BEHIND WAR?
MONUMENTS TELL SUCH
A DISTORTED HISTORY
AND FOR HIM TO ALLOW
FOR ALTERNATE HISTORIES
TO COME THROUGH THAT
IS SO IMPORTANT.
- IT COULD EASILY BE CLASSIFIED
AS VISIONARY ARCHITECTURE
AND YET KRZYSZTOF SAYS THAT
IT IS MEANT TO BE BUILT.
AND YET KRZYSZTOF SAYS THAT
IT IS MEANT TO BE BUILT.
(SOFT INTRIGUING MUSIC)
- [CAROL] THIS HYPOTHETICAL IDEA
OF
TRANSFORMING THE MONUMENT TO
WAR,
WHAT MOTIVATES SOMEONE
TO WANT TO DO
SUCH A WILD IDEA AS
WRAP THE ARC DE TRIOMPHE
IN A NEW STRUCTURE WHICH WOULD
BE ABOUT THE ABOLITION OF WAR
AND THE TRANSFORMATION
OF CONSCIOUSNESS?
WAR WAS VERY MUCH A
PART OF KRZYSZTOF'S LIFE
FROM THE VERY START.
(SOFT SOLEMN MUSIC)
- [KRZYSZTOF] I WAS BORN TWO
DAYS BEFORE THE OUTBREAK
OF GHETTO UPRISING IN WARSAW.
MY FATHER WAS NOT JEWISH,
BUT I WAS BORN OF JEWISH
MOTHER OUTSIDE OF GHETTO.
SHE TOLD ME THAT AFTER
GIVING BIRTH TO ME,
THROUGH THE WINDOWS
SHE COULD SEE BURNING,
DESTROYED GHETTO
BEING A BATTLEGROUND.
AND SHE SAID, "I LOOK
AT YOU, NEWBORN BABY,
AND I WAS HORRIFIED."
SHE SAID, "YOU LOOKED LIKE THIS
JEW IN ANTI-SEMITIC POSTERS."
SHE SAID, "YOU LOOKED LIKE THIS
JEW IN ANTI-SEMITIC POSTERS."
AND SHE WAS AFRAID THAT
WE WOULD DIE.
OF COURSE,
WE WERE HIDDEN.
BUT HER FAMILY WAS
IN WARSAW GHETTO.
MY FATHER WAS SAVING JEWISH.
HER PARENTS WERE ACTUALLY
SMUGGLED BY MY FATHER
TO HIDING IN SOME SMALL VILLAGE.
BUT PROBABLY THOSE
PARENTS WERE MURDERED.
TOWARDS THE END OF THE
WAR, THE DIFFERENCE
BETWEEN SLAVIC PEOPLE AND
JEWS WERE DIMINISHING.
MY FATHER IN FACT WAS
ROUNDED UP ON THE STREET,
ENDED UP IN THE LABOR CAMP.
(DARK MELANCHOLY MUSIC)
AFTER THE WAR, MY FATHER
BECAME DIRECTOR OF THE
FIRST PHILHARMONIC ORCHESTRA
BY THE BALTIC SEA,
CREATING COMPLETELY NEW
CULTURE OF MUSICIANSHIP.
BUT DURING THE TIME, HE WAS
ALSO EXPELLED FROM POLAND.
HE HAD TO MOVE ABROAD
AGAINST HIS WILL.
(ATMOSPHERIC MUSIC)
IN COMPARISON TO MY OWN
HISTORY, THERE'S SOME OVERLAP
BECAUSE THEY BASICALLY
KICKED ME OUT FROM POLAND.
ART CAN ACTUALLY PREVENT
TO REPEAT PAST
MISTAKES AND INJUSTICES.
THIS IS PART OF THE TRADITION
OF THE AVANT-GARDE ART.
(SOFT INTRIGUING MUSIC)
- KRZYSZTOF'S WORK
IS QUITE UNIQUE
IN THE WORLD OF ARTISTS WHO
ARE POLITICALLY ENGAGED.
(MYSTERIOUS INTRIGUING MUSIC)
HIS WORK BEGINS IN
POLAND IN THE '60S.
POLAND DURING THE '60S WAS
A VERY REPRESSIVE SITUATION.
(MYSTERIOUS INTRIGUING MUSIC)
- [KRZYSZTOF] WE WERE NOT
ALLOWED TO SPEAK IN PUBLIC.
WE COULD ONLY LISTEN.
AND EVERYBODY READING
UNDER AUTHORITARIAN CONTEXT
MUST BE VERY PRECISE IN
LISTENING
TO WHAT'S NOT BEING SAID.
MUST BE VERY PRECISE IN
LISTENING
TO WHAT'S NOT BEING SAID.
(SOFT INTRIGUING MUSIC)
(MYSTERIOUS INTRIGUING MUSIC)
THERE ARE SOME
EXPRESSIONS IN POLISH:
"TO HEAR WHAT ONE
CAN HEAR IN GRASS."
SOMETHING THAT IS
SUSPENDED IN THE AIR
SOMETHING THAT IS
SUSPENDED IN THE AIR
AND CAN ONLY HEAR WHEN
WE REALLY ARE VERY TUNED
PRECISELY TO SILENCES,
TO INFORMATION THAT
IS CENSORED, RIGHT?
TO THINGS THAT ARE OMITTED.
WE WERE TRYING TO HEAR THE
TRUTH BETWEEN THE LINES.
THIS IS THE CONTEXT
OF THIS INSTRUMENT.
SINCE WE WERE NOT ALLOWED
TO BE CREATIVE IN SPEAKING
SINCE WE WERE NOT ALLOWED
TO BE CREATIVE IN SPEAKING
BUT ONLY IN LISTENING,
WHY NOT DESIGN SPECIAL
EQUIPMENT FOR CREATIVE
LISTENING?
THE OPERATION OF THOSE FILTERS
WERE DONE THROUGH SENSORS
ATTACHED TO HANDS.
IF I CLOSE MY HANDS COMPLETELY,
THERE WAS NO LIGHT
COMING TO THE SENSORS.
THERE WAS SILENCE.
WHEN I OPEN IT TO
MAXIMUM LIGHT,
I COULD HEAR FULL FREQUENCY.
IT WAS MOSTLY GLISSANDO EFFECT,
BUT IT COULD ALSO BE INTERRUPTED
BY KIND OF RUPTURES OF SOUND.
THE IMPORTANT ASPECT OF IT,
IT WAS HIGHLY VISIBLE
WHAT I WAS DOING.
IT'S JUST NOBODY COULD
HEAR WHAT I HEARD.
IT'S KINDA REVERSING WHOLE
SITUATION OF THE CENSORSHIP.
(STATIC CRACKLING)
(SOFT INTRIGUING MUSIC)
- KRZYSZTOF WODICZKO WAS
ONE OF THE CRUCIAL ARTISTS
DURING THE '70S IN POLAND.
HE DIDN'T WANT TO LEAVE POLAND.
BUT WHEN HE WAS IN TORONTO,
THE POLISH EMBASSY,
THEY WAS TOLD THAT HE
SHOULD STAY IN THE WEST.
IT WAS VERY COMMON PRACTICE
BY COMMUNIST REGIME
TO REDUCE THE INTELLECTUALS,
THE ARTISTS
BECAUSE THEY WERE INFLUENTIAL.
(DARK INTRIGUING MUSIC)
- [KRZYSZTOF] AT NIGHT,
THE CITY BUILDINGS
ARE WRESTLING WITH
THEIR DAILY EXPERIENCES,
AS IF THEY HAD NIGHTMARES
ABOUT WHAT THEY DO
DURING THE DAY.
IT LOOKS LIKE THE BUILDINGS
ARE HAVING REAL DREAMS
OF THE DAILY ACTIVITIES.
(DARK INTRIGUING MUSIC)
I BEGUN PUBLIC PROJECTIONS
IN TORONTO IN 1981.
I PROJECTED ON THIS BUILDING
JUST PARTS OF A HUMAN BODY
TO TURN THEM INTO
BODILY CREATURES.
TAKING ADVANTAGE OF
THIS BODILY METAPHOR
THAT IS IN NEOCLASSIC
ARCHITECTURE
BUT ALSO IN MODERNIST
BUILDINGS AS WELL.
I SIMPLY HELP THOSE
BUILDINGS TO BECOME BODIES.
I SIMPLY HELP THOSE
BUILDINGS TO BECOME BODIES.
A LITTLE BIT TURNING THE CITY
INTO BRECHTIAN THEATER, YOU
KNOW?
BUT IT WAS VERY CLEAR
THAT THEY REALLY RESEMBLED
IN MANY WAYS PEOPLE WHO
WORK IN THOSE BUILDINGS.
KEY TURNING POINT WAS
WHEN I SAW GROUP OF PEOPLE
WHO LOOK AT THIS AND
STARTED TO LAUGH.
THE LAUGHTER WAS A
REVELATION TO ME
THE LAUGHTER WAS A
REVELATION TO ME
BECAUSE IT'S CLEAR
THAT THEY REALIZED
THAT THERE'S SOMETHING
IN THOSE BUILDINGS
THAT IS INSIDE OF THEM.
I PROJECT IT ON THE
STUTTGART VICTORY COLUMN
WHICH RESEMBLE A MISSILE.
IT WAS VERY IMPORTANT
BECAUSE IT THEN OPENED
ANOTHER KIND OF POSSIBILITY
OF ANIMATING MONUMENTS,
ESPECIALLY WAR MEMORIALS
REVEALING THEIR FUNCTION
OF SYMBOLIC WAR MACHINES,
MAJOR REPRODUCERS OF WAR.
YOU KNOW, THAT PERPETUATE WAR.
(DESOLATE INTRIGUING MUSIC)
THAT REALLY REINFORCED MY...
KIND OF INTEREST IN
CONTINUATION OF THIS WORK,
THIS PROJECTIONIST LIFE WHICH
LASTS UNTIL TODAY, YOU KNOW.
(INTRIGUING RHYTHMIC MUSIC)
- [KRZYSZTOF] AFTER I RECEIVED
HIROSHIMA ART PRIZE,
WHICH IS PEACE PRIZE FOR
ARTISTS, I VISITED HIROSHIMA.
I RECOGNIZED HIROSHIMA
AS IT RELATED TO WARSAW.
SIMPLY BECAUSE VISUALLY,
HIROSHIMA
WAS FLATTENED COMPLETELY.
(INTRIGUING RHYTHMIC MUSIC)
OF COURSE TO THIS, YOU HAVE
TO ADD THE RADIATION EFFECT.
THIS PRIZE MOBILIZED ME TO
PRODUCE HIROSHIMA PROJECTION
THIS PRIZE MOBILIZED ME TO
PRODUCE HIROSHIMA PROJECTION
ABOUT NUCLEAR BOMBING.
THIS PROJECTION ENGAGED THE
BUILDING THAT SURVIVED BOMBING.
THE MONUMENT, A-BOMB DOME.
- THE HIROSHIMA PROJECT
WAS THE FIRST MAJOR PROJECT
ASSOCIATED WITH TRAUMA.
IT'S THE FIRST PROJECT
WHERE THE BUILDING
BECAME A BODY.
I GET CHILLS WHEN
I REMEMBER THE STORY
KRZYSZTOF'S PARTICIPANTS TOLD,
HOW PEOPLE JUMPED IN
THE RIVER FOR RELIEF.
(WATER TRICKLING)
(SOFT INTROSPECTIVE MUSIC)
- TEN YEARS AGO,
I WAS THINKING, YOU KNOW,
THE WAR ABOLITION AND THE
ARC DE TRIOMPHE PROJECT.
THE WAR ABOLITION AND THE
ARC DE TRIOMPHE PROJECT.
IT IS IMPOSSIBLE.
WE SHOULD NOT EVEN
TALK ABOUT THIS.
I THINK IT'S A WONDERFUL
IDEA, BUT IT'S IMPOSSIBLE.
BUT HE'S LIKE A TANK
SLOWLY, SLOWLY MOVING.
BUT HE IS DEFINITELY DOING
SOMETHING ABOUT THIS.
WRITING A BOOK,
HIS PROJECT IS MOVING.
HE DOESN'T GIVE UP AND HE
WRITE THE HUGE, HUGE ARTICLES,
HUGE TALKS.
HE THINK CONSTANTLY.
HE'S OBSESSED.
- RIGHT NOW, ALL OF WHAT
WE CALL NATIONAL CULTURE
IS BY PRINCIPLE WAR CULTURE.
WE HAVE TO QUESTION THE
WHOLE DEMOCRATIC SYSTEM
AND DEPLOY NEW RADICAL
DEMOCRATIC METHODS
TO WAKE UP THIS SYSTEM
AND WILL HAVE TO ATTACK
SO-CALLED DEMOCRACY.
BECAUSE THE WAY THE
POLITICAL-ECONOMICAL SYSTEM
WORKS,
IT DEPRIVES PEOPLE OF
ACCESS TO THEIR RIGHTS.
IT DEPRIVES PEOPLE OF
ACCESS TO THEIR RIGHTS.
- [VETERAN] WAR IS NOT JUST
WE GO THERE, WE FLY THE FLAG,
WE SHOOT A FEW THINGS
AND WIN AND WALK AWAY
WHICH HAS BEEN PROPAGANDA
SINCE THE FIRST WORLD WAR,
IF NOT BEFORE OR
BEFORE OR BEFORE THAT.
(GUN BLASTING)
- I KNOW, I AM SURE EVEN,
WE WILL HAVE LIKE THE
ABOLITION OF SLAVERY.
WE WILL HAVE ABOLITION OF WAR.
(SOFT INTRIGUING MUSIC)
- I THINK HE REALLY BELIEVES
THAT HE'S GONNA HAVE
THIS PROJECT COMPLETED.
WHEN HE SHOWED IT TO ME
IN HIS SO-CALLED OFFICE
WHICH WAS THE COFFEE SHOP
DOWN ON THE LOWER EAST SIDE,
MY INITIAL RESPONSE WAS, "NO,
THIS IS NEVER GONNA TAKE PLACE.
BUT OH, I THINK IT
IS POSSIBLE ACTUALLY."
- [KRZYSZTOF] OKAY. WHAT
ARE WE DOING, MARIA?
TELL ME.
- OKAY.
(ESPRESSO MACHINE GETTING LOUD)
LISTEN, THIS IS NOT A SIMPLE
MATTER, WHAT I'M SAYING.
I AM DISTURBED BY
SOUNDS ALL MY LIFE.
AND I KNOW LOTS OF
PEOPLE LIKE ME.
OF COURSE SOMEBODY
COULD BLAME THE FACT
THAT I WAS A BABY
DURING THE WAR.
I DON'T REMEMBER WAR AT ALL.
BUT THE WAR IS INSIDE
OF ME, REMEMBERS ME.
BUT THE WAR IS INSIDE
OF ME, REMEMBERS ME.
I RESPOND
TO THE SOUNDS.
I'M OVERLY SENSITIVE
TO CERTAIN THINGS.
AS WAR VETERANS
WITH WHOM I WORK,
THEY HAVE VERY
SIMILAR REACTION.
AND I HAVE TO TELL THEM
THIS IS DISTURBING ME TOO MUCH.
I LIKE COFFEE SHOPS,
BUT I DON'T LIKE WHEN
PEOPLE SPEAK TOO LOUD.
YEAH.
OKAY.
(PATRON CHATTERING)
COULD YOU SPEAK LITTLE LOWER?
BECAUSE WE HAVE
INTERVIEW NOW.
'CAUSE IT'S VERY
ACOUSTIC, THIS PLACE.
BUT ALSO ANOTHER THING IS
THAT IN THE UNITED STATES,
PEOPLE ARE ABUSING
PUBLIC SPACE
WITH THEIR SPEECH ALL THE TIME.
THEY HAVE A VULGAR RELATION
TO FIRST AMENDMENT.
THEY THINK THAT BECAUSE
IT'S A FREEDOM OF SPEECH,
THEN THEY CAN SPEAK
AS LOUD AS THEY WISH.
THEN THEY CAN SPEAK
AS LOUD AS THEY WISH.
WITHOUT UNDERSTANDING
THAT BY DOING THIS,
THEY PREVENT OTHERS
FROM THE SAME RIGHT.
IT'S ALL ABOUT RIGHTS.
IT'S NOTHING ABOUT OBLIGATIONS.
(BEATING RHYTHM)
(BIRDS CHIRPING)
- [HOMELESS MAN] YOU
HAVE A SIDE DOOR RIGHT HERE.
- YES.
- OKAY?
- SO IT WILL OPEN THIS WAY.
- IT WILL SWING OUT.
- YEAH.
- YOU HAVE A BASKET IN FRONT.
- [KRZYSZTOF] RIGHT.
- [HOMELESS MAN] SEE,
THIS DOESN'T HAVE TO BE
A COMPLICATED MATTER.
- [KRZYSZTOF] WELL THAT'S
WHY I WANT-
- [HOMELESS MAN] YOU
UNDERSTAND WHAT I'M SAYIN'?
- [HOMELESS MAN] YOU
UNDERSTAND WHAT I'M SAYIN'?
BECAUSE IT COULD BE
CHEAPLY MADE, OKAY?
AND IT COULD BE OF
A CONSUMER TYPE.
- WHEN I ARRIVED TO
UNITED STATES FROM CANADA,
I WORKED ON MY HOMELESS
VEHICLE PROJECT AT THE TIME
WHEN THERE WAS 100,000 HOMELESS
PEOPLE IN NEW YORK CITY.
MANY HOMELESS PEOPLE
WHO LIVE HERE
WERE FORMER SOLDIERS
FROM VIETNAM.
SO THEY WERE IN FACT CONTINUING
THEIR LIFE LIKE IN A JUNGLE.
THEY CONTINUED THEIR
WAR TO SURVIVE
THEY CONTINUED THEIR
WAR TO SURVIVE
IN NEW YORK CITY
RATHER THAN IN VIETNAM.
- [HOMELESS MAN] LIKE THIS GUY
HERE, HE'S NOT AN ACTOR, RIGHT?
HE'S A REAL
HOMELESS PERSON, RIGHT?
SO YOU'RE USIN' A REAL
HOMELESS PERSON IN YOUR FILM.
- YO BUDDY, DO ME A FAVOR.
JUST STEP OFF, ALL RIGHT?
JUST BACK OFF AND MIND
YOUR BUSINESS, ALL RIGHT?
BACK OFF, ALL RIGHT?
- [DREAD] IN NEW YORK
AT THE TIME,
GENTRIFICATION WAS
GOING ON AND DISPLACEMENT
AND SOME PEOPLE
WERE DEMANDING
THAT THESE HOMELESS
BE REMOVED
AND YET PEOPLE WERE
BOTH SQUATTING
IN PARTS OF THE EAST VILLAGE
IN TOMPKINS SQUARE PARK.
IN PARTS OF THE EAST VILLAGE
IN TOMPKINS SQUARE PARK.
AND SO KRZYSZTOF SAYS, "NO.
AS ARTISTS, AS PEOPLE
IN THE ARTS,
WE HAVE A RESPONSIBILITY
TO LOOK AT THAT AND
PROPOSE SOLUTIONS.
WOULD IT BE A MUCH
BETTER SOCIETY
IF THERE WERE SAY 20,000
OR 50,000 HOMELESS VEHICLES
OUT THERE OR WOULD IT BE BETTER
TO ACTUALLY FIND
HOMES FOR PEOPLE?
- [GREG] KRZYSZTOF
IDENTIFIES WITH THESE PEOPLE
WHO HAVE NOTHING.
THEY ARE LIVING IN THE
STREET OR IN A PARK.
HE PUTS THE WORD OUT
THERE LIKE A CALLING CARD
INVITING THEM TO BE PART OF HIS
ART, PARTICIPATE IN HIS ART.
INVITING THEM TO BE PART OF HIS
ART, PARTICIPATE IN HIS ART.
(SOFT INTRIGUING MUSIC)
(DOG BARKING)
- I LIVED ON 7TH STREET IN
BROOKLYN, NEW YORK CITY.
BETWEEN C&D, IT WAS
THE CENTER OF CRACK.
THE BUILDINGS WERE ON FIRE
ALL THE TIME AROUND US
AND I THINK THE LANDLORDS
WERE SETTING THOSE FIRES.
I GREW UP IN RUINS BY
THE BALTIC SEA AS WELL,
BUT WARSAW WAS THE REAL
EXPERIENCE WITH RUINS.
(SOFT INTRIGUING MUSIC)
LOOKED EXACTLY THE SAME
AS EAST VILLAGE.
- KRZYSZTOF WODICZKO,
SO THIS IS YOUR RESPONSE TO
A SPECIFIC SOCIAL PROBLEM.
ONE THAT I'M IMAGINING
THAT AS SOMEBODY
WHO GREW UP IN
COMMUNIST POLAND,
WHO GREW UP IN
COMMUNIST POLAND,
YOU WOULD NOT REALLY
HAVE EXPERIENCED THAT
UNTIL YOU CAME TO THE WEST.
IS THIS A REFLECTION OF
YOUR CULTURE SHOCK
IN MAKING THAT JOURNEY AS WELL?
- OF COURSE IT WAS A SHOCK,
BUT ALSO IT WAS A POSSIBILITY
TO REALLY FULLY ACT IN PUBLIC
SPACE WITH FULL STRENGTH
TO ACTUALLY EXPOSE ISSUES
AND CREATE CONDITIONS FOR
PEOPLE TO CONFRONT EACH OTHER,
EXCHANGE POINTS OF VIEW
THROUGH DESIGN AND ART.
EXCHANGE POINTS OF VIEW
THROUGH DESIGN AND ART.
SOMETHING I COULD NOT IMAGINE
HAVING IN MY OLD COUNTRY
UNDER PREVIOUS REGIME.
- ART WAS GENERALLY BEING USED
TO CREATE A POSITIVE
IMAGE FOR REDEVELOPMENT.
WHEN I SAW
WODICZKO'S HOMELESS VEHICLE,
I SAW ART DOING SOMETHING
ENTIRELY DIFFERENT.
HOMELESS VEHICLE HAD A FEELING
OF BEING A METAPHORICAL WEAPON
AGAINST VIOLENCE THAT WAS BEING
DONE TO PEOPLE IN THE CITY.
- [DREAD] THOSE HOMELESS
VEHICLES
WERE BOTH PRACTICAL BUT ABSURD.
IF YOU HAPPENED TO BE
HOMELESS AND ACTUALLY GET ONE,
IT WOULD'VE POTENTIALLY
BEEN USEFUL.
BUT IT WAS MORE
POSING A QUESTION
OF WHAT KINDA SOCIETY
THAT HAS ALL THIS WEALTH
THAT COULD ACTUALLY
FEED, CLOTHE AND SHELTER
EVERYBODY THAT LIVES HERE, LETS
PEOPLE EXIST WITHOUT A HOME
AND ATTACKS THEM WHEN THEY'RE
TRYING TO PUT TENTS TOGETHER?
(DARK INTRIGUING MUSIC)
(BEATING RHYTHMIC MUSIC)
- I WAS A STUDENT OF KRZYSZTOF'S
AND THEN WAS LUCKY ENOUGH
TO BECOME HIS COLLEAGUE.
KRZYSZTOF'S WORK WAS
SO INFLUENTIAL TO ME.
THE FIRST TIME I SAW IT,
IT BLEW ME AWAY.
I DIDN'T KNOW THAT
THIS COULD BE ART.
ONE OF THE FIRST
PIECES THAT I SAW
THAT REALLY MOVED
ME WAS DIS-ARMOR.
IT WAS A JAPANESE STUDENT
WHO WORE THIS DEVICE,
COULD SPEAK THROUGH
A PORTAL ON HER BACK,
WERE THESE TWO SCREENS
WHERE YOU JUST SEE HER EYES.
AND THEN SHE TOLD THESE
INCREDIBLY DIFFICULT STORIES
ABOUT THE WAY SHE
WAS BEING BULLIED,
ABOUT THE WAY SHE
WAS BEING BULLIED,
HER RELATIONSHIP WITH HER
PARENTS AND HER CULTURE.
- [ANI] IT APPEARED TO
BE VERY THERAPEUTIC
- [ANI] IT APPEARED TO
BE VERY THERAPEUTIC
FOR THE PERSON WEARING IT.
AND NOT ONLY THAT,
IT WAS DEFINITELY THERAPEUTIC
FOR ME WATCHING IT.
AS A CHILD OF IMMIGRANTS,
AS SOMEONE WHO IS TAUGHT
CULTURALLY IN ONE WAY
NOT TO BE OVERLY EMOTIONAL,
IT REALLY FREED ME.
- I FIND THAT REALLY INTERESTING
WITH A LOT OF HIS WEARABLES
THAT THEY COULD BE
PERCEIVED AS WEAPONS
OR EVEN LIKE THEY HAVE THIS
KIND OF MILITARY AESTHETIC,
BUT THEY'RE MORE LIKE
CONDUCTORS OF PEACE.
I GUESS THAT'S WHY HE CALLED
IT "INTERROGATIVE DESIGN."
AROUND 2013, 2014,
A LOT OF WEARABLE
TECHNOLOGY BECAME SUPER HOT.
AND THEN SUDDENLY
I'M LIKE WOW, KRZYSZTOF
WHO'S BEEN MAKING
WEARABLE TECH ART
FOR LIKE DECADES BEFORE THIS,
BEFORE EVERYONE WAS LIKE
ALL ABOUT WEARABLE TECH.
BEFORE EVERYONE WAS LIKE
ALL ABOUT WEARABLE TECH.
(SOFT DRONING MUSIC)
NOT ONLY THAT, HIS WORK
WAS BOTH VERY CRITICAL
OF THE TECHNOLOGY BUT ALSO USED
IT TO BE INCREDIBLY POETIC.
(CITIZENS CHATTERING)
HE MADE TOTEMS DESIGNED
FOR IMMIGRANTS
TO BE ABLE TO COMMUNICATE THEIR
HISTORIES AND THEIR STORIES
OF WHO THEY ARE,
WHERE THEY CAME FROM,
TO BE EMPOWERED
AND NOT ASHAMED
OF THESE ASPECTS OF THEMSELVES.
IN THE CONTEXT OF XENOPHOBIA,
I FEEL LIKE IN ORDER
TO COMBAT XENOPHOBIA,
IT'S A LOT OF HIDING.
IT'S A LOT OF LIKE PRETENDING
THAT I'M JUST PART
OF THE BACKGROUND
OR THAT YOU KNOW, I'M
AS AMERICAN AS POSSIBLE.
OR THAT YOU KNOW, I'M
AS AMERICAN AS POSSIBLE.
BUT A TOOL IN WHICH
SOMEONE CAN UNDERSTAND
WHO YOU ACTUALLY ARE TO BUILD
THOSE BRIDGES OF EMPATHY,
TO SHARE THESE KIND OF STORIES,
YOU KNOW, SOME ASPECT
OF A UNIVERSAL HUMAN
I THOUGHT WAS VERY POWERFUL
AND PROFOUND AND CATHARTIC.
(SOFT MELANCHOLY MUSIC)
- [ROSALYN] THE HOMELESS
VEHICLE,
THE ARC DE TRIOMPHE PROJECT
AND PROJECTS THAT HE DID
UNDER THE AEGIS OF
INTERROGATIVE DESIGN
UNDER THE AEGIS OF
INTERROGATIVE DESIGN
ARE DESIGNED NOT ONLY TO HELP
THE PEOPLE THAT ARE HOMELESS
OR IMMIGRANTS, LIKE HIS
IMMIGRANT INSTRUMENTS,
BUT IN SOME WAY TO
HELP HEAL THE SOCIETY.
HE TAKES THE NOTION
OF HEALING SERIOUSLY,
WHAT MIGHT ACTUALLY HEAL.
- AND ARE YOU SURE THIS
IS THE RIGHT POSITION?
- [LOADER] YEAH, I THINK IT'S
RIGHT.
- [LOADER] YEAH, I THINK IT'S
RIGHT.
- LAMEES AND AMEEN TAKE THREE.
(CLAPPERBOARD SNAPPING)
- THANK YOU.
- YOU DID GOOD.
I THINK THE LEAST HEARD VOICES
ARE THE VOICES OF
WOMEN IN ANY WAR.
BEING FROM THE MIDDLE EAST
AND BEING FROM IRAQ ITSELF,
I THINK MORE SO
THAN ANYWHERE ELSE.
RIGHT AFTER THE WAR
WHEN THEY STARTED DIGGING
UP THE MASS GRAVES,
WOMEN WERE FLOCKING
TO THESE GRAVES
WOMEN WERE FLOCKING
TO THESE GRAVES
CARRYING A SMALL IDENTITY CARD.
BUT WHAT THEY FOUND WERE BONES
UPON BONES OF EXECUTED MEN,
OF FAMILIES THAT
WERE BURIED ALIVE.
AND I THINK THE ROLE THAT, THAT
CHANGED FOR WOMEN IN THE WAR
WAS YOU KNOW, WHERE YOU HAVE
THE HOMEMAKER IN GENERAL
WHERE SHE TAKES CARE OF THE
HOME, TAKES CARE OF THE KIDS.
IT MOVED, IT CHANGED
BECAUSE SHE HAD TO
BE THE ONE GOING OUT
AND LOOKING FOR THOSE BODIES
BECAUSE THE MEN IN
THE FAMILY WERE GONE.
I THINK THE FIRST
THING THAT YOU NOTICE
IN WAR IS THE MISSILES.
AT NIGHT WHEN THE
MISSILES WOULD START,
IT'S LIKE THEY
TEAR UP INSIDE OF YOU.
THEY'RE INSIDE OF YOU ALL
THE TIME, THAT SOUND. (CRYING)
IT'S SO DEEP NOBODY UNDERSTANDS
THE DEPTH OF WHERE
THAT GOES. (WEEPING)
AND I THINK I JUST
SURRENDER TO GOD THEN.
I THINK THE WAR
WITH WHATEVER IT DID,
I THINK THE WAR
WITH WHATEVER IT DID,
DESTRUCTION OR WHATEVER
LIVES IT TOOK.
I THINK WHAT THE MOST IT
TOOK FROM US AS IRAQIS
IS OUR SENSE OF BELONGING.
THAT SAFETY, THAT SENSE OF HOME,
THAT SENSE OF
BELONGING IS GONE,
BECAUSE YOU DON'T FEEL
YOU BELONG TO THIS.
YOU DON'T FEEL YOU BELONG TO
A COUNTRY THAT'S BEING RAPED.
AND I REMEMBER EVERY
NIGHT I'D GO TO SLEEP.
I'D GO TO SLEEP THINKING
THAT WE WERE GOING TO DIE,
ME AND MY HUSBAND
AND MY SON WOULD BE THE
ONLY ONE IN THE HOUSE.
AND MY SON WOULD BE THE
ONLY ONE IN THE HOUSE.
AND THERE WOULD BE NOBODY
THERE TO TAKE CARE OF HIM
AND HE WOULD DIE OF
HUNGER OR AN ANIMAL.
AND THAT FEAR STAYED WITH
ME EVEN AFTER I LEFT IRAQ.
- [KRZYSZTOF] OVERWHELMING
EXPERIENCES
OF WAR THAT ARE INSCRIBED
INTO THE SOUL OF PARENTS,
THEY ARE NOT AWARE OF IT.
AND CHILDREN ARE
ACTUALLY NOT AWARE
THAT THEY ACTUALLY
RECEIVING PART OF IT.
THAT THEY ACTUALLY
RECEIVING PART OF IT.
THE WAY MY MOTHER WAS
ACTING AND BEHAVING
WAS A MYSTERY TO ME.
SHE ACTED AS A RESULT
OF HER WAR EXPERIENCE,
SO SHE DIDN'T TALK
ABOUT THOSE THINGS.
SHE PREVENTED ME FROM
KNOWING ANY DETAILS.
NOW 'CAUSE I WORK WITH
TRAUMATIZED PEOPLE,
I TRY TO LEARN
SOMETHING ABOUT TRAUMA
AND I'M ALSO LEARNING SOMETHING
ABOUT MY OWN REACTIONS.
- WELL I THOUGHT THE PRINCIPAL
WHO WAS MADE UP IN MY DREAM
- WELL I THOUGHT THE PRINCIPAL
WHO WAS MADE UP IN MY DREAM
WAS KILLING EVERYONE,
AND EVERYONE WAS IN CAGES.
AND THEN MY DREAM ENDS
WHEN THE PRINCIPAL
IS ABOUT TO KILL ME.
AFTER THAT DREAM HAPPENED,
I HAD NIGHTMARES HAPPENING
ALMOST EVERY DAY.
AND...IT SEEMS
LIKE SOMETHING
WAS LEFT OVER FROM
THE WAR INSIDE ME.
WAS LEFT OVER FROM
THE WAR INSIDE ME.
- [KRZYSZTOF] SO WHAT ELSE
WOULD YOU LIKE TO SAY?
YOU ARE THE FUTURE
OF THIS COUNTRY.
THERE'S SOMETHING
THAT CAN BE DONE
SO CHILDREN WILL NO LONGER
HAVE THESE KIND OF NIGHTMARES.
- IF I COULD CHANGE
THINGS IN THE WORLD,
I WOULD MAKE IT SO THAT NOBODY
WOULD HAVE TO GO THROUGH,
I WOULD MAKE IT SO THAT NOBODY
WOULD HAVE TO GO THROUGH,
JUST, WAR ITSELF.
LIKE NO MORE WARS.
AND SO NOBODY HAS TO
YOU KNOW, LIVE IN FEAR
THAT THEY'RE GONNA GET
KILLED THE NEXT DAY
BECAUSE WARS ARE CHANGING
THE ENTIRE WORLD AND
IT'S DESTROYING
EVERYTHING, HUMANITY.
EVEN AFTER WARS,
EVERYTHING'S...
EVEN AFTER WARS,
EVERYTHING'S...
EVERYTHING'S JUST
NEVER THE SAME.
PEOPLE ARE...
(MELANCHOLY MUSIC BUILDS)
- [LAMEES] IT'S OKAY.
IT'S OKAY.
- [AMEEN] IF THERE WERE NO WARS,
ANYWHERE,
EVERYONE COULD JUST LIVE IN
PEACE WITHOUT ALL THESE DEATHS.
(SOFT MELANCHOLY MUSIC)
- I TOLD KRZYSZTOF, "THANK
YOU FOR THE LETTING ME SPEAK,"
BECAUSE I SPENT THE LAST
SIX YEARS HERE IN CANADA
HAVING PEOPLE SAY, "OH, I THINK
YOU SHOULD SEE A COUNSELOR
IF YOU'RE THAT YOU
KNOW, TRAUMATIZED."
AND WHAT YOU NEED
IS A HUMAN BEING
WHO UNDERSTANDS YOU
AND KNOWS YOU
TO TALK ABOUT IT AND SAY,
"HEY, THIS IS WHAT HAPPENED.
IT'S OKAY 'CAUSE
I'M OKAY."
(DARK INTRIGUING MUSIC)
- [KRZYSZTOF] NOW WHEN WE
SEE MASSES OF REFUGEES,
THEY'RE FLEEING CIVIL
WARS IN THEIR COUNTRIES.
IT'S DEFINITELY TIME TO REALIZE
THE IMPACT OF WAR ON CIVILIANS.
WHEN I SEE THE SITUATION
OF REFUGEES TODAY,
IT'S EXTREMELY SAD.
OF COURSE WHAT CAN ART DO
TO HELP US TO OPEN UP
AND LISTEN TO THOSE
WHO ARE IN A WORSE POSITION?
WE SHOULD LOOK UP TO THEM
RATHER THAN DOWN AT THEM.
(DARK INTRIGUING MUSIC)
- WHEN YOU HEAR THE STORIES
THAT ARE TOLD BY THE MIGRANTS
AND THEY'RE TOLD
BY THE VETERANS,
YOU HAVE OFTEN THE SAME TRAUMAS.
BOTH VETERANS AND
MIGRANTS CAN BECOME PAWNS
BOTH VETERANS AND
MIGRANTS CAN BECOME PAWNS
IN A MUCH LARGER BATTLE
THAT HAS VERY LITTLE
TO DO WITH THEM
AND OFTEN HAS TO
DO WITH CAPITAL.
(SOFT STRIKING MUSIC)
GETTING TO THE POINT
OF UN-WARRING OURSELVES
IS PROBABLY GOING TO BE AN ART.
AND BECAUSE ART HAS
OFTEN THE POSSIBILITY
OF THINKING OUTSIDE THE
BOX OR THINKING CREATIVELY
ABOUT THINGS THAT
WE TAKE FOR GRANTED.
ABOUT THINGS THAT
WE TAKE FOR GRANTED.
- [ANI] THE IMPOSSIBLENESS OF IT
I THINK IS WHAT MAKES
IT SO IMPORTANT.
IT REQUIRES AN UNDOING OF
DEEP PSYCHOLOGICAL GROUNDWORK
THAT HAS BEEN LAID BY LIKE
GENERATIONS OF BEING HUMAN.
THAT HAS BEEN LAID BY LIKE
GENERATIONS OF BEING HUMAN.
AND SO HOW DO YOU UNDO THAT?
LIKE HOW DO YOU UN-PROGRAM IT
FROM ALMOST LIKE A DNA LEVEL?
I THINK HE'S TOTALLY RIGHT.
IT REQUIRES A COMPLETE
PARADIGM SHIFT.
(SOFT MELANCHOLY MUSIC)
(WHISTLING)
(DARK FOREBODING MUSIC)
- [REPORTER] FRENCH
PRESIDENT FRANçOIS HOLLANDE
HAS COME OUT AND
SAID THAT HIS COUNTRY
IS UNDER THE THREAT
OF ISLAMIC TERRORISM.
- [REPORTER] THE FRENCH
LAUNCHING AIRSTRIKES
AGAINST ISIS TARGETS IN
SYRIA OVER THE WEEKEND.
THIS OF COURSE IN RESPONSE
TO FRIDAY'S HORRIFIC
TERROR ATTACK.
- [REPORTER] TONIGHT,
VIOLENT PROTESTS
IN ONE OF THE WORLD'S
MOST FAMOUS CITIES.
POLICE CLASHING WITH
ANTI-GOVERNMENT
DEMONSTRATORS IN PARIS
FOR A THIRD STRAIGHT WEEKEND.
CARS THERE SET ON FIRE.
THE FAMED ARC DE TRIOMPHE
VANDALIZED.
- [REPORTER] PEOPLE
BROKE INTO THE MONUMENT,
- [REPORTER] PEOPLE
BROKE INTO THE MONUMENT,
LOOTING THE GIFT
SHOP, DAMAGING ARTWORK.
(DARK INTRIGUING MUSIC)
- [KRZYSZTOF] ALL OF THIS
TOGETHER
MAKES IT AT THIS POINT
PRACTICALLY UNREALISTIC
TO EVEN DISCUSS THIS PROJECT
SO EASILY BY ANYONE IN FRANCE.
I WILL NOT GIVE UP THE NEED TO
BE CLOSE TO THIS WAR MACHINE
AND LET PEOPLE UN-WAR THEMSELVES
'CAUSE EVERYONE IS
TALKING ABOUT PEACE.
BUT VERY, VERY FEW
PEOPLE REALLY ARE WILLING
TO GET INTO DEEP THINKING
OF WHY OUR
WAR MIND IS SO STRONG.
SO WE HAVE GET CLOSER TO
THOSE RELIEFS EYE TO EYE.
SO WE HAVE GET CLOSER TO
THOSE RELIEFS EYE TO EYE.
THIS PROJECT HAS NOT BEEN
REALIZED, BUT THE DAY WILL COME.
IT WILL HAPPEN.
PEOPLE WILL LEARN HOW ABSURD
RESOLVING OR DEALING WITH
HUMAN CONFLICT THROUGH WAR IS.
(PATRONS CHATTERING)
I HAVE TO SAY THAT
I'M NOT STOPPING.
I'M NOT EVEN SLOWING DOWN
WITH MY UN-WAR PROJECTS.
I DO WHAT I CAN AND I CONTINUE.
(SLOW PIANO TUNE)
- YOU TOLD ME THAT
I'M A MISOGYNIST,
THAT I'M A RACIST,
THAT I'M A HOMOPHOBE
WHEN MANY OF MY FRIENDS
FALL INTO THOSE CATEGORIES.
- YOU THINK THAT
ALL LIVES MATTER,
MEANWHILE WE'VE
ALL BEEN SAYING THIS.
MEANWHILE WE'VE
ALL BEEN SAYING THIS.
MY LIFE MATTERS AND I THINK
THAT YOUR LIFE MATTERS.
ALSO,
I GET TO HAVE A VOICE.
YOU THINK THAT,
BY ME SPEAKIN' UP,
THAT ME BEING PASSIONATE IS
ME BEING AN ANGRY BLACK MAN.
- I NEVER SAID THAT
I HATE GAY PEOPLE,
THAT I HATE BLACK PEOPLE
OR PEOPLE OF ANOTHER
RACE THAN MYSELF.
- YOU THINK THAT WHEN I TALK ABOUT ISSUES
CONCERNING INJUSTICE THAT
I'M ASKING FOR A HANDOUT.
YOU THINK THAT
WHERE I COME FROM IS...
NOTHING YOU BELIEVE
MAKES SENSE.
- HORRIBLE.
YOU HAVE NO ARGUMENT TO
SUPPORT THIS EMOTION.
I GET YOU'RE EMOTIONAL.
YOU KNOW, YOU'RE ENTITLED
TO YOUR OPINIONS.
- RACIST.
- SNOWFLAKE.
- RACIST.
- SNOWFLAKE.
(SOFT INTRIGUING MUSIC)
I DON'T THINK WE'RE TOO FAR
GONE THAT A CIVIL WAR IS COMING.
I WOULD SAY THAT
THERE'S A LITTLE BIT
OF A CIVIL WAR OF
WORDS GOING ON
IT FEELS LIKE, AS FAR AS
THE POLITICAL DIVIDE GOES.
BUT I CERTAINLY HOPE
AND DON'T BELIEVE
THAT WE ARE HEADED TO
AN ACTUAL CIVIL WAR.
I THINK THAT DIVIDE
IS CLEARLY ILLUSTRATED
WHEN YOU LOOK AT A VOTING MAP.
(PLATFORM CLACKING & SQUEAKING)
(SOMBRE PIANO MUSIC)
(INTROSPECTIVE RHYTHMIC MUSIC)