1 00:00:02,000 --> 00:00:07,000 Downloaded from YTS.BZ 2 00:00:08,000 --> 00:00:13,000 Official YIFY movies site: YTS.BZ 3 00:00:13,119 --> 00:00:15,680 [music starts] 4 00:00:31,560 --> 00:00:34,360 ANNE-LAURE: You don't tell yourself you're going to be an artist. 5 00:00:34,360 --> 00:00:36,720 It's something that lives in us, 6 00:00:36,720 --> 00:00:39,759 that we don't understand right away 7 00:00:39,759 --> 00:00:44,600 and as we grow up, as we come to analyze things, 8 00:00:44,600 --> 00:00:48,759 as we experiment and meet people, as we see things, 9 00:00:48,759 --> 00:00:50,360 we gradually assume it. 10 00:00:50,959 --> 00:00:54,720 I've always been inhabited by things that perhaps 11 00:00:54,720 --> 00:00:57,000 were stronger than me, so I didn't understand them much 12 00:00:57,000 --> 00:01:01,079 so it could lead to feeling a bit out of place sometimes. 13 00:01:09,400 --> 00:01:12,720 MICHEL: I think an artist is someone who lives through expression. 14 00:01:12,720 --> 00:01:14,400 So I think that... 15 00:01:15,800 --> 00:01:21,479 I consider myself an artist from the moment I find a way to express what I want to say 16 00:01:21,479 --> 00:01:23,800 and to share my world. 17 00:01:33,479 --> 00:01:37,519 MICHEL: This is a special place, I used to live in this house right there. 18 00:01:37,519 --> 00:01:42,319 And I spent my weekends learning how to windsurf in this bay. 19 00:01:43,479 --> 00:01:48,479 And to come back here after 18 years around the world by boat, it’s pretty... 20 00:01:49,639 --> 00:01:54,079 Incredible because I never thought I'd come back and in the end, like every good Breton, 21 00:01:54,079 --> 00:01:58,600 there's a legend that says the Breton always comes home and that's exactly what's happening here, 22 00:01:58,600 --> 00:01:59,879 and I'd never have believed it. 23 00:02:00,280 --> 00:02:02,720 I think it's the cycle of life that does that, 24 00:02:02,720 --> 00:02:07,239 you come back to your roots with a new energy and a desire to create 25 00:02:08,079 --> 00:02:10,239 in your territory. 26 00:02:11,200 --> 00:02:13,400 ANNE-LAURE: If we hadn’t found each other here, 27 00:02:13,400 --> 00:02:15,600 if we hadn’t both shared this craving, 28 00:02:15,600 --> 00:02:17,800 and it wasn’t intellectualized at the beginning, 29 00:02:17,800 --> 00:02:20,800 it was really a desire to create something together. 30 00:02:21,479 --> 00:02:22,800 rather than a child, 31 00:02:22,800 --> 00:02:26,319 it became obvious to us that it should be through art. 32 00:02:47,920 --> 00:02:50,839 MICHEL: If you ask me ‘What is Human Soul?’ I would say that 33 00:02:52,519 --> 00:02:54,000 Human Soul is... 34 00:02:54,800 --> 00:02:56,639 it is born with a question. 35 00:02:57,600 --> 00:02:59,439 and the question is ‘Who are you?’ 36 00:03:03,239 --> 00:03:05,239 ANNE-LAURE: Human Soul is a search for differences, 37 00:03:05,920 --> 00:03:10,000 it is really exploring what a person is 38 00:03:10,639 --> 00:03:12,360 deep down within themselves. 39 00:03:20,000 --> 00:03:24,439 MICHEL: It’s this encounter with others that really inspires us with Anne-Laure because 40 00:03:26,039 --> 00:03:29,519 it’s very intimate to ask someone who they are, 41 00:03:29,519 --> 00:03:32,959 it is a question that is rarely asked in the end 42 00:03:32,959 --> 00:03:35,439 and when you ask this question 43 00:03:35,439 --> 00:03:37,680 the answer is often surprising. 44 00:03:42,439 --> 00:03:44,560 [music stops] 45 00:03:47,959 --> 00:03:50,079 [machine noise] 46 00:04:14,680 --> 00:04:18,360 MICHEL: The start of my trip around the world in 2004, 47 00:04:18,360 --> 00:04:26,600 I left after graduating from the Beaux Arts in Toulouse, I set off around the world in 2004, 48 00:04:26,600 --> 00:04:32,360 but to continue my artistic work, well I accumulated information by making notebooks, 49 00:04:32,360 --> 00:04:36,680 sketchbooks, little notebooks. Here, for example, is a little notebook that goes back 50 00:04:36,680 --> 00:04:40,639 a year, almost to the day, with the departure from Brest to Senegal in the first year. 51 00:04:40,639 --> 00:04:44,959 It was a source of information that enabled me to work on other things afterwards. 52 00:04:47,360 --> 00:04:53,400 My son was born in Colombia because we had to cross Panama, so normally you have to wait 53 00:04:53,400 --> 00:04:58,680 two or three weeks to get through the canal. And then it was a two-month wait. 54 00:04:58,680 --> 00:05:05,479 So rather than wait the full two months, we went back to the Kuna Indians where we'd been before, 55 00:05:05,479 --> 00:05:10,280 but we stayed with them for several months, as my partner was pregnant at the time. 56 00:05:10,839 --> 00:05:15,759 So we lived with the Kuna Indians for a very long time, well six months before the baby 57 00:05:15,759 --> 00:05:21,800 and four months after the baby. So here it's interesting because we had time, 58 00:05:21,800 --> 00:05:27,519 I would sit on the beaches, making watercolor drawings, I'd recover a little of, 59 00:05:27,519 --> 00:05:33,839 like it’s often done for notebooks, a little bit of materials. There are words lying around, 60 00:05:33,839 --> 00:05:37,079 there’s a bit of drawing, watercolor, things like that. 61 00:05:37,519 --> 00:05:42,519 But I really wanted to get out of the travel notebook, it wasn't at all what I wanted to do. 62 00:05:51,879 --> 00:05:56,079 ANNE-LAURE: For me, the thing I feel the most comfortable with is collage. 63 00:05:56,079 --> 00:06:01,680 Ever since I was very young, I've always wanted to collect things. 64 00:06:01,680 --> 00:06:06,000 As soon as I see images I like, I rip them out of the magazines and pick them up 65 00:06:06,000 --> 00:06:11,039 and I collect them and keep them. Sometimes I even forget them and then I have moments 66 00:06:11,039 --> 00:06:16,119 when I want to assemble these images together and from there create series. 67 00:06:16,800 --> 00:06:24,439 In this series there was always something very... A duality between two worlds, and it was really 68 00:06:24,439 --> 00:06:28,680 a whole period that was very healing for me, because I was going through a difficult 69 00:06:28,680 --> 00:06:33,759 period in my life, with a big break-up and a big questioning of a lot of things came 70 00:06:33,759 --> 00:06:40,239 through this quest, all the weeks of creation and collages, something was happening that 71 00:06:40,239 --> 00:06:41,800 was moving me forward. 72 00:06:43,879 --> 00:06:49,439 MICHEL: I met up with Anne-Laure, who was also at the Beaux-Arts with me, and she was into collage. 73 00:06:49,439 --> 00:06:53,759 She would start from the center to develop a visual, 74 00:06:53,759 --> 00:06:56,560 I'd start from the page and work my way back to the center 75 00:06:56,560 --> 00:06:59,479 and the two of us, with the intersection of our worlds, 76 00:06:59,839 --> 00:07:05,800 moved more into the pure collage she uses, but we've kept some of the depth of the message 77 00:07:05,800 --> 00:07:10,680 within the encounters. In the villages, for example, there were lots of people and lots to talk about. 78 00:07:10,680 --> 00:07:13,839 So in the work we're doing with Human Soul, we're also reassembling, 79 00:07:13,839 --> 00:07:19,119 recontextualizing a lot because it allows us to imprint ourselves on the page 80 00:07:19,119 --> 00:07:23,039 and at the same time have the depth to tell where we are and who we are. 81 00:07:23,039 --> 00:07:28,239 With Michel, all of a sudden, everything was completely embodied. It was people we met, 82 00:07:28,239 --> 00:07:35,839 it was very lively, very very real. And it was no longer a fantasy or an idea, 83 00:07:35,839 --> 00:07:41,400 It wasn't a concept, it was real life. And it was a wonderful combination to create these 84 00:07:41,400 --> 00:07:43,639 two universes and, in one fell swoop, to drop the page and have the world open up to us 85 00:07:43,639 --> 00:07:45,920 [music starts] two universes and, in one fell swoop, to drop the page and have the world open up to us 86 00:07:45,920 --> 00:07:50,239 with a territory that was somewhat unlimited, in which we could inscribe ourselves. 87 00:08:11,959 --> 00:08:13,280 [laughter] 88 00:08:13,879 --> 00:08:15,000 Hi! 89 00:08:18,239 --> 00:08:19,360 Thank you. 90 00:08:21,600 --> 00:08:23,079 [kitchen ustensils] 91 00:08:27,759 --> 00:08:30,720 I am very happy! 92 00:08:31,159 --> 00:08:31,800 MICHEL: Why? 93 00:08:31,800 --> 00:08:33,639 While I am working 94 00:08:34,200 --> 00:08:38,439 because this is the first time that a yacht comes here 95 00:08:39,000 --> 00:08:40,800 so I am very happy! 96 00:08:41,200 --> 00:08:42,519 NELSON: Thank you! 97 00:08:44,360 --> 00:08:46,600 This is jelly 98 00:08:47,159 --> 00:08:49,439 you can make jelly with this 99 00:08:49,439 --> 00:08:51,560 It comes from here! 100 00:08:51,560 --> 00:08:54,439 This is very good, it’s a seaweed 101 00:08:54,439 --> 00:08:58,119 in Filipino we call this Tambalang 102 00:09:01,400 --> 00:09:04,400 My wife, is my fish 103 00:09:04,400 --> 00:09:06,560 And the lobster is your husband? 104 00:09:06,560 --> 00:09:07,079 Yes! 105 00:09:11,519 --> 00:09:14,800 NELSON: This is the fire to cook the rice. 106 00:09:14,800 --> 00:09:16,519 This is how we cook 107 00:09:17,200 --> 00:09:19,239 on the fire. 108 00:09:19,239 --> 00:09:22,639 this is how the Filipinos cook. 109 00:09:22,639 --> 00:09:24,319 You burn the wood 110 00:09:24,319 --> 00:09:26,560 then you put the pail and then your rice. 111 00:09:26,800 --> 00:09:27,839 [laughter] 112 00:09:27,920 --> 00:09:28,959 You see? 113 00:09:31,159 --> 00:09:32,680 [music stops] 114 00:09:34,600 --> 00:09:44,319 ANNE-LAURE: Human Soul began with Nelson, a Filipino fisherman we met on a remote stretch of sand. 115 00:09:44,319 --> 00:09:48,000 He was hyper-resilient because typhoons every 116 00:09:48,000 --> 00:09:51,680 two years destroyed part of his house and yet he would rebuild. 117 00:09:51,680 --> 00:09:55,879 He was always smiling and he had a real flair for ingenuity. 118 00:09:55,879 --> 00:09:59,319 So we really created a friendly relationship with him. 119 00:09:59,319 --> 00:10:01,839 That was our first portrait. 120 00:10:02,759 --> 00:10:04,759 NELSON: That’s my experience. 121 00:10:04,759 --> 00:10:07,879 Three our four typhoons came by. 122 00:10:07,879 --> 00:10:10,000 [music starts] I can’t predict my life 123 00:10:10,000 --> 00:10:11,439 I can’t predict my life. 124 00:10:11,439 --> 00:10:15,119 I dream when I say, 125 00:10:15,119 --> 00:10:17,200 if my house is destroyed. 126 00:10:17,200 --> 00:10:20,079 I just go somewhere else. 127 00:10:20,079 --> 00:10:22,959 God’s helping me, 128 00:10:22,959 --> 00:10:26,119 so that my house is not destroyed. 129 00:10:32,079 --> 00:10:35,920 MICHEL: We came across some old posts on an isolated sandbar. 130 00:10:35,920 --> 00:10:40,400 We asked him what this old ruin was 131 00:10:40,400 --> 00:10:42,639 and Nelson told us it was his old house 132 00:10:42,639 --> 00:10:47,079 So it became an obvious choice. In fact, this is where we'll be doing Nelson’s portrait. 133 00:10:47,079 --> 00:10:50,000 ANNE-LAURE: And that’s how we came up with the idea of making 134 00:10:50,000 --> 00:10:52,639 a collage of his portrait, and then to change its scale 135 00:10:52,639 --> 00:10:56,720 from this small collage to a very large print at the scale of the landscape 136 00:10:56,720 --> 00:10:58,879 that the person we had met lived in. 137 00:10:58,879 --> 00:11:02,959 MICHEL: To tell the story of this resilient man, we're going to bring him back to these ruins, 138 00:11:02,959 --> 00:11:05,200 to the ruins of his old home 139 00:11:26,079 --> 00:11:29,680 [footsteps in water] 140 00:12:03,920 --> 00:12:09,400 MICHEL: When you begin a process of sociological or ethnological interest in others, it's a very virtuous spiral, 141 00:12:09,400 --> 00:12:11,920 because you see everyone's difference, but at the same time 142 00:12:11,920 --> 00:12:13,920 you feed off it, you don't see it as a handicap. 143 00:12:13,920 --> 00:12:18,639 We had removed his face, we had put parts of his habitat on his back. 144 00:12:18,639 --> 00:12:21,560 We tried to tell the story of Nelson as we saw him. 145 00:12:22,400 --> 00:12:25,959 What we can hope is that when people see this, they'll say to themselves: 146 00:12:25,959 --> 00:12:28,839 I'm going to take an interest in my neighbour, in the guy across the street, 147 00:12:28,839 --> 00:12:31,319 or at the supermarket. I'm not saying that they weren't interested before 148 00:12:31,319 --> 00:12:33,839 I'm just saying that they might be interested in a different way. 149 00:12:36,720 --> 00:12:41,360 ANNE-LAURE: Above all, we realized that with this way of doing things, this process, 150 00:12:41,360 --> 00:12:45,479 we were making collages and installations, but it was also about relationships. 151 00:12:45,479 --> 00:12:48,280 And that's what was interesting for us, to create a bond. 152 00:12:53,200 --> 00:12:56,119 ANNE-LAURE: Yes, it's your flowers! 153 00:12:56,800 --> 00:12:57,759 The red ones? 154 00:12:57,759 --> 00:12:58,720 ANNE-LAURE: Yeah! 155 00:13:03,720 --> 00:13:04,920 [music stops] 156 00:13:04,920 --> 00:13:05,560 [music stops] Those are the seaweeds. 157 00:13:05,560 --> 00:13:08,639 Those are the seaweeds. 158 00:13:08,639 --> 00:13:10,360 MICHEL: The seaweeds, yes. 159 00:13:10,360 --> 00:13:12,560 The seaweeds over there, look! 160 00:13:12,560 --> 00:13:15,360 MICHEL: What else do you see? Do you see your boat? 161 00:13:18,519 --> 00:13:20,400 Ah, this one? 162 00:13:26,200 --> 00:13:29,200 Very well. 163 00:13:30,119 --> 00:13:33,360 MICHEL: We were very happy to see that he was happy that we were interested in him. 164 00:13:33,360 --> 00:13:35,959 We were happy to see that he understood what we were doing. 165 00:13:35,959 --> 00:13:37,680 [music starts] and that became the beginning of Human Soul,f 166 00:13:37,680 --> 00:13:38,800 and that became the beginning of Human Soul, 167 00:13:38,800 --> 00:13:43,280 because we thought, this is great, we're going to be able to use this model, 168 00:13:43,280 --> 00:13:48,920 maybe on our next stopover. And that's where we came up with this model of collage, 169 00:13:48,920 --> 00:13:52,119 construction, deconstruction and confrontation. 170 00:13:52,119 --> 00:13:54,519 And then we asked ourselves if we could arrive 171 00:13:54,519 --> 00:13:59,159 with something like a present. So this present, it's an artistic present, 172 00:13:59,159 --> 00:14:05,319 will it create the same relationships of shared curiosity that could exist with children? 173 00:14:05,319 --> 00:14:07,879 When you arrive in a village with children, it inevitably creates a bond. 174 00:14:07,879 --> 00:14:11,720 Here, it's the artwork that creates the bond. So we tried it with the Badjos, 175 00:14:11,720 --> 00:14:14,639 who are a very particular ethnic group. 176 00:14:14,639 --> 00:14:17,200 They are sea gypsies. They have absolutely no status, 177 00:14:17,200 --> 00:14:22,039 they have no passports, they have no land, they are not recognized in the villages, 178 00:14:22,039 --> 00:14:25,560 They are a very special ethnic group, 179 00:14:27,639 --> 00:14:29,920 [singing] 180 00:14:34,439 --> 00:14:36,720 [indistinct chatter] 181 00:14:43,400 --> 00:14:46,079 [children playing] 182 00:14:50,920 --> 00:14:53,600 [singing] 183 00:15:02,400 --> 00:15:05,079 [laughter] 184 00:15:15,879 --> 00:15:20,079 ANNE-LAURE: The day we unrolled the canvas at the foot of their boat, 185 00:15:20,079 --> 00:15:22,920 one of the women with whom we felt most at ease, 186 00:15:22,920 --> 00:15:28,079 put her baby in my arms. And all of a sudden, a bond was created. 187 00:15:28,079 --> 00:15:33,639 I had the baby in my arms and she was laughing, discovering fragments of themselves. 188 00:15:33,639 --> 00:15:38,439 And there it was. There was an appropriation of the canvas, a contact, an exchange and something 189 00:15:38,439 --> 00:15:41,239 that is effectively of the order of an encounter. 190 00:15:42,280 --> 00:15:44,920 [wind] 191 00:16:21,560 --> 00:16:24,400 [music stops] 192 00:16:25,280 --> 00:16:29,079 [distant traffic] 193 00:16:41,000 --> 00:16:45,280 MICHEL: It was an awesome dude, unbelievable. He'd take something simple and turn it 194 00:16:45,280 --> 00:16:47,759 into something complicated... 195 00:16:47,759 --> 00:16:49,920 Darling we have something on our plants. 196 00:16:49,920 --> 00:16:50,560 MICHEL: Little animals? 197 00:16:50,560 --> 00:16:52,519 Small dots, What is it? 198 00:16:52,519 --> 00:16:53,519 MICHEL: Probably because... 199 00:16:53,519 --> 00:16:54,200 Look. 200 00:16:56,119 --> 00:16:57,920 They look like... 201 00:16:59,000 --> 00:17:01,839 do you think they are little insect babies? 202 00:17:02,119 --> 00:17:03,159 MICHEL: Well, there's a chance. 203 00:17:03,159 --> 00:17:03,720 Ah shit. 204 00:17:04,200 --> 00:17:05,400 MICHEL: We have to treat it. 205 00:17:06,759 --> 00:17:07,479 We have to go to... 206 00:17:08,319 --> 00:17:10,400 We have to go to Jardiland! 207 00:17:12,039 --> 00:17:13,039 What's going on? 208 00:17:13,239 --> 00:17:15,039 ANNE-LAURE: I’m doing your hair. 209 00:17:16,759 --> 00:17:20,360 The family home, the original house, where Michel grew up, 210 00:17:20,360 --> 00:17:26,959 yes, it was a bit... not abandoned, but nobody lived there for a long time 211 00:17:27,439 --> 00:17:31,079 and when we came back and we started to do this Human Soul project 212 00:17:31,079 --> 00:17:35,720 and to come back to Brittany, to this house, we started to live in all the spaces 213 00:17:36,360 --> 00:17:41,079 and this swimming pool, with its volume and dimensions, was initially used as a 214 00:17:41,079 --> 00:17:44,039 workshop to cut out our large collages 215 00:17:44,039 --> 00:17:48,239 and we began to appropriate this space, which was lying fallow. 216 00:17:48,239 --> 00:17:53,000 As we co-created in this space and thought about the interior, 217 00:17:53,000 --> 00:17:59,000 we said to ourselves, this space is crazy and it's silly to keep it to ourselves. We can use it 218 00:17:59,000 --> 00:18:04,959 to make our own creations, but we also want to invite other artists to come 219 00:18:04,959 --> 00:18:06,920 and experiment with things. 220 00:18:06,920 --> 00:18:09,479 And what we found so beautiful in this story was to share, 221 00:18:09,479 --> 00:18:13,200 to share this place, to share this space. 222 00:18:13,720 --> 00:18:19,319 MICHEL: So wait, maybe I'll stop it from slipping 223 00:18:25,839 --> 00:18:27,439 It still has the sand... 224 00:18:28,039 --> 00:18:29,560 ANNE-LAURE: From Borneo. 225 00:18:42,239 --> 00:18:45,200 MICHEL: Here we gain some space. 226 00:18:45,200 --> 00:18:47,200 ANNE-LAURE: The funny thing is that it’s back in... 227 00:18:47,200 --> 00:18:49,600 MICHEL: In the water. He's wet. He's wet like on the beach. 228 00:18:49,600 --> 00:18:50,879 ANNE-LAURE: Yeah. 229 00:18:51,720 --> 00:18:57,159 It's quite extraordinary to have this place that can host the Badjaos again 230 00:18:57,159 --> 00:19:02,479 and to be able to show the public the exhibition almost as if they were there, 231 00:19:02,479 --> 00:19:03,800 because it's going to be quite immersive. 232 00:19:03,800 --> 00:19:06,720 There will be sound, there will be videos, there will be this canvas 233 00:19:06,720 --> 00:19:11,800 with water and the vibration of water. So I think we'll manage to create something 234 00:19:11,800 --> 00:19:17,479 quite immersive that will make you feel a bit like you're with the Badjaos. 235 00:19:18,839 --> 00:19:21,239 The reason we're embarking on this adventure 236 00:19:21,239 --> 00:19:24,159 is that we've found a whole host of people 237 00:19:24,159 --> 00:19:25,680 who want to follow us in this adventure. 238 00:19:25,680 --> 00:19:28,560 Already here on site, we've done a first exhibition with the ZAD. 239 00:19:28,560 --> 00:19:34,439 Following this exhibition, some of the artists we've befriended a little more 240 00:19:34,439 --> 00:19:40,239 who follow us and encourage us and help us experiment, will be coming to exhibit here. 241 00:19:40,239 --> 00:19:43,639 And interestingly, it's pretty much the same thing. It's like living on a boat: you have 242 00:19:43,639 --> 00:19:48,800 to accept movement and uncertainty. And I think we're very, very used to uncertainty. 243 00:19:48,800 --> 00:19:53,560 Now it's a question of how we're going to reinvent ourselves, how we're going to build 244 00:19:53,560 --> 00:19:58,119 a new universe with this space, this place, this jewel box that is, that is divine. 245 00:20:02,720 --> 00:20:08,079 ANNE-LAURE: Here I remember this desire to try and occupy the page completely, 246 00:20:08,079 --> 00:20:10,200 but there were things that I found interesting, you know. 247 00:20:10,200 --> 00:20:14,959 There was also this structure on the island where they would go to land. 248 00:20:14,959 --> 00:20:18,839 It was way more more complex and it's true that we simplified it afterwards, 249 00:20:18,839 --> 00:20:20,239 for the installation, 250 00:20:20,239 --> 00:20:21,639 the final installation. 251 00:20:24,920 --> 00:20:27,360 And then we move over to the Tagbanuas, 252 00:20:27,360 --> 00:20:31,119 where what amused us was that, as they were divers, we played with fins and masks 253 00:20:31,119 --> 00:20:34,000 [music starts] where what amused us was that, as they were divers, we played with fins and masks 254 00:20:38,959 --> 00:20:43,439 MICHEL: The Tagbanuas are an ethnic group who live in the south of Coron, in the north of Palawan. 255 00:20:43,439 --> 00:20:47,119 They have been displaced from the northern Philippines and have been given 256 00:20:47,119 --> 00:20:49,879 a magnificent island called Coron. 257 00:20:49,879 --> 00:20:53,280 There was an area where, during the dry season 258 00:20:53,280 --> 00:20:58,600 you can't go by boat because it's windy and not conducive to entering the bay. 259 00:20:58,600 --> 00:21:00,439 We had been talking about it for years. 260 00:21:00,439 --> 00:21:02,720 Then one day, we were lucky enough to have the wind turn, 261 00:21:02,720 --> 00:21:06,839 it was beginning to be the rainy season. And on the way into the bay, we saw some mazes, 262 00:21:06,839 --> 00:21:13,119 an underwater maze of perspective lines in every direction, and we thought wow, this is so beautiful. 263 00:21:13,119 --> 00:21:16,200 ANNE-LAURE: It was very graphic, visually... 264 00:21:16,200 --> 00:21:22,600 We later learned that it was an ancestral knowledge, where they tie little bits of seaweed 265 00:21:22,600 --> 00:21:25,560 to grow and then harvest them. 266 00:21:25,560 --> 00:21:28,759 It was while we were tangled with these lines 267 00:21:28,759 --> 00:21:31,439 that we came up with the idea of using them as a picture rail. 268 00:21:31,439 --> 00:21:33,319 For the duration of an installation, 269 00:21:33,319 --> 00:21:35,159 we wanted to experiment something. 270 00:21:39,479 --> 00:21:43,720 MICHEL: The Tagbanuas, like the Bajaos, have a reputation for strong apnea. 271 00:21:43,720 --> 00:21:47,920 They’re often said to have a third lung, since they spend so much time underwater 272 00:21:47,920 --> 00:21:51,200 to harvest the seaweed or to get shellfish. 273 00:21:51,200 --> 00:21:54,400 It was symbolically powerful to put their portraits back underwater. 274 00:21:54,400 --> 00:21:56,280 [music builds] 275 00:22:22,839 --> 00:22:24,519 [music stops] 276 00:22:24,519 --> 00:22:26,200 [buzzing insects] 277 00:22:28,400 --> 00:22:30,079 ANNE-LAURE: Holy cow! 278 00:22:38,959 --> 00:22:40,639 [wind blowing] 279 00:22:46,720 --> 00:22:48,759 [indistinct chatter] 280 00:22:59,319 --> 00:23:00,239 ANNE-LAURE: Wow! 281 00:23:00,239 --> 00:23:01,879 [laughter] 282 00:23:05,519 --> 00:23:08,280 It's your house! 283 00:23:08,280 --> 00:23:09,959 Your name? I’m Anne-Lo. 284 00:23:10,400 --> 00:23:11,560 Michel. 285 00:23:12,280 --> 00:23:13,800 Leydon. 286 00:23:17,039 --> 00:23:17,959 Nice to meet you Leydon. 287 00:23:17,959 --> 00:23:18,879 ANNE-LAURE: Nice to meet you. 288 00:23:19,600 --> 00:23:21,159 [insects buzzing] 289 00:23:32,800 --> 00:23:35,280 [laughter] 290 00:23:38,200 --> 00:23:39,119 House? 291 00:23:39,239 --> 00:23:40,159 House yeah. 292 00:23:42,200 --> 00:23:44,759 This is a portrait. 293 00:23:44,759 --> 00:23:45,680 TAGBANUA WOMAN: A painting. 294 00:23:45,680 --> 00:23:46,600 A painting. 295 00:23:47,239 --> 00:23:49,720 [laughter] 296 00:23:51,879 --> 00:23:54,360 [laughing and chatting continues] 297 00:23:57,239 --> 00:23:58,879 [music starts] 298 00:24:07,920 --> 00:24:13,720 ANNE-LAURE: We played with the scale and the engine because, in fact, when we first met him, 299 00:24:13,720 --> 00:24:18,200 he was struggling with an engine and they spent days repairing it, so we made it so big, 300 00:24:18,200 --> 00:24:22,280 because it really took up a lot of his time, this old man. 301 00:24:22,280 --> 00:24:25,879 He was carrying the engine on his back. We saw the moment they managed to turn it back on 302 00:24:25,879 --> 00:24:27,119 and they were very happy. 303 00:24:27,119 --> 00:24:29,239 It was really quite an adventure. 304 00:24:29,959 --> 00:24:31,720 MICHEL: It was a bit like they were shipwrecked on a beach, 305 00:24:31,720 --> 00:24:33,079 trying to make their way out with this engine. 306 00:24:33,079 --> 00:24:35,639 ANNE-LAURE: That’s why we managed to spend a little time with them. 307 00:24:35,639 --> 00:24:37,439 Because of the engine. 308 00:24:37,439 --> 00:24:39,239 [music builds] 309 00:24:52,400 --> 00:24:56,280 ANNE-LAURE: We want to tell the story of all these different states of being in the world, 310 00:24:56,280 --> 00:24:58,800 without embellishing them, just showing them as they are. 311 00:24:58,800 --> 00:25:04,639 It’s a kind of opening that's not idealistic. It's not, it's just opening up 312 00:25:04,639 --> 00:25:09,239 the field of what another way of being than our own can be. 313 00:25:13,759 --> 00:25:16,200 MICHEL: Leydon, its Leydon! 314 00:25:16,200 --> 00:25:17,519 [laughter] 315 00:25:22,839 --> 00:25:25,319 [water bubbling] 316 00:25:25,319 --> 00:25:27,280 [music stops] 317 00:25:31,879 --> 00:25:34,360 [water bubbling continues] 318 00:25:35,839 --> 00:25:38,400 That’s the sound of water, that’s not the sound of the video. 319 00:25:38,879 --> 00:25:39,680 Obviously! 320 00:25:40,039 --> 00:25:41,360 Obviously, water ! 321 00:25:41,360 --> 00:25:42,159 Everything’s connected. 322 00:25:42,159 --> 00:25:44,280 We’re not even telling you her name is ‘Lo’. 323 00:25:44,800 --> 00:25:47,639 It’s not bad this shot. 324 00:25:48,519 --> 00:25:52,439 I can still see myself. Look, I'm blowing his regulator out to empty it. 325 00:25:54,400 --> 00:25:57,119 You see, all these rushes are going to look great in the pool. 326 00:25:58,720 --> 00:26:01,400 What I found extraordinary was that they had the curiosity 327 00:26:01,400 --> 00:26:03,400 to dive in and see what was going on 328 00:26:03,400 --> 00:26:07,079 and that the encounter took place underwater. 329 00:26:09,839 --> 00:26:12,360 [distant traffic] 330 00:26:16,720 --> 00:26:18,239 [tram bell] 331 00:26:22,560 --> 00:26:24,879 ANNE-LAURE: No, because you wanted to contour it 332 00:26:24,879 --> 00:26:29,920 MICHEL: No, I know, but what I meant is that you had to study the model. 333 00:26:29,920 --> 00:26:31,159 Then we would have contoured it. 334 00:26:31,159 --> 00:26:32,639 The interesting thing is... 335 00:26:32,639 --> 00:26:36,280 But this saves time, look. There I’ll give you Mohammed contoured. 336 00:26:36,280 --> 00:26:38,879 I didn't say it was wrong, I agreed with you. 337 00:26:39,400 --> 00:26:41,000 We always agree in the end. 338 00:26:41,000 --> 00:26:43,959 So we always agree in the end. It's perfect. 339 00:26:43,959 --> 00:26:45,839 In the end, the good guys always win. 340 00:26:45,839 --> 00:26:49,200 MICHEL: But what's certain is that I don't think we... 341 00:26:49,200 --> 00:26:52,200 I don't think we ever got to the end of a process 342 00:26:52,200 --> 00:26:55,920 where the other didn't agree with the realization. 343 00:26:56,720 --> 00:26:58,800 Because I think the frustration would be too great. 344 00:26:58,800 --> 00:27:01,439 You'd hear it every day. But I told you no, but no, but no, but no. 345 00:27:01,439 --> 00:27:06,000 And even then, we can't do it, we both have to be satisfied with the result. 346 00:27:06,600 --> 00:27:07,200 ANNE-LAURE: So 347 00:27:08,400 --> 00:27:09,200 So then... 348 00:27:12,360 --> 00:27:17,639 MICHEL: The Cité de Refuge is the emblematic building of the Salvation Army in France, 349 00:27:17,639 --> 00:27:24,000 since the building was built by a renowned architect, Le Corbusier, with a very special... 350 00:27:24,000 --> 00:27:27,479 [music starts] ANNE-LAURE: With incredibly beautiful architecture. 351 00:27:27,479 --> 00:27:33,200 It was in a magnificent setting, and at the same time, it was as if all the poverty 352 00:27:33,200 --> 00:27:38,360 in the world at a given moment was gathered in this marvelous setting 353 00:27:38,360 --> 00:27:41,839 and it was very dissonant, very disturbing. 354 00:27:41,839 --> 00:27:46,039 That's why we wanted to continue telling the story of this Human's Soul project, 355 00:27:46,039 --> 00:27:48,319 but rather than being at the end of the world, 356 00:27:48,319 --> 00:27:49,879 to tell it here in our society, 357 00:27:49,879 --> 00:27:52,239 to precisely show this discrepancy in our society. 358 00:27:53,119 --> 00:27:55,079 [music builds] 359 00:28:04,560 --> 00:28:07,400 FLORA: The first meeting was a beautiful story. 360 00:28:07,400 --> 00:28:10,360 I'm a member of a group for women at the Salvation Army. 361 00:28:10,360 --> 00:28:13,360 We had been allocated a room by the management 362 00:28:13,360 --> 00:28:17,360 and I found these two there setting up. 363 00:28:17,360 --> 00:28:21,119 I called out to them and said: wait a minute, you're not allowed to be here 364 00:28:21,119 --> 00:28:22,360 because this belongs to me, 365 00:28:22,360 --> 00:28:23,680 this room belongs to us. 366 00:28:23,680 --> 00:28:28,560 They were a bit surprised so I said: no, calm down, try to explain. 367 00:28:28,560 --> 00:28:29,879 And when they said: no, it was the management that sent us, 368 00:28:29,879 --> 00:28:31,280 I replied that I would go and see the management myself 369 00:28:31,280 --> 00:28:32,479 because you have no right to be there. 370 00:28:32,479 --> 00:28:33,400 [laughter] 371 00:28:33,720 --> 00:28:34,639 [laughter] 372 00:28:34,759 --> 00:28:39,239 We looked at each other thinking: well, we’re here trying to establish contact 373 00:28:39,239 --> 00:28:43,079 and suddenly we were already in a trap. And there we were... 374 00:28:43,560 --> 00:28:44,439 So we... 375 00:28:44,560 --> 00:28:45,920 ANNE-LAURE: So we got kicked out, that was it. 376 00:28:45,920 --> 00:28:50,959 [laughter] We got kicked out, apologized, got our stuff went downstairs to the lobby, 377 00:28:50,959 --> 00:28:54,560 A huge magnificent lobby with great volumes, very Le Corbusier. 378 00:28:54,560 --> 00:28:55,639 Very impressive. 379 00:28:55,639 --> 00:28:57,759 Truly impressive, imposing and where everything echoed. 380 00:28:57,759 --> 00:29:02,119 [music stops] And finally, it was a gift that Flora made us. 381 00:29:02,119 --> 00:29:04,119 [dominos clattering] 382 00:29:07,839 --> 00:29:13,400 ALEX: The first time I met Michel and Anne-Laure was over a game of dominoes. 383 00:29:13,400 --> 00:29:18,400 They explained a little about what they were all about. That they had traveled a lot 384 00:29:18,400 --> 00:29:24,479 with their boat and all that, and that they made art. And then I thought, why not 385 00:29:24,479 --> 00:29:31,159 try a new activity, a new way of using my ten fingers. 386 00:29:31,159 --> 00:29:34,839 [music starts again] 387 00:29:35,639 --> 00:29:38,879 [indistinct chatter] 388 00:29:49,639 --> 00:29:55,600 ANNE-LAURE: The aim of this project was really to show that the people who we featured in Human Soul 389 00:29:55,600 --> 00:29:59,000 at the beginning in the Philippines, in Borneo 390 00:29:59,000 --> 00:30:02,159 and who everyone found so exotic - saying: wow they are so beautiful, 391 00:30:02,159 --> 00:30:04,200 we wanted to show that if you took them out of their context 392 00:30:04,200 --> 00:30:05,319 and they found themselves in our society 393 00:30:05,319 --> 00:30:08,839 all of the sudden they would be stigmatized and confined to the fringes of our society. 394 00:30:08,839 --> 00:30:14,159 It is in fact so difficult to find our place in this society 395 00:30:14,159 --> 00:30:18,639 and it's often very complicated to see the light. 396 00:30:18,639 --> 00:30:21,920 In this artistic project we are for the most part surrounded 397 00:30:21,920 --> 00:30:25,159 by sensitive, beautiful people. 398 00:30:25,159 --> 00:30:27,200 Whatever people say, whatever they may think. 399 00:30:27,200 --> 00:30:29,839 [music stops] 400 00:30:29,839 --> 00:30:33,720 HEDI: My name is Hedi, I've been in France for 20 years now. 401 00:30:33,720 --> 00:30:35,959 I'm from Tunisia. 402 00:30:35,959 --> 00:30:40,039 I still have problems with my residency papers. 403 00:30:40,039 --> 00:30:42,200 I've submitted a file to the police department. 404 00:30:42,200 --> 00:30:45,360 They replied by saying I have to be deported. 405 00:30:45,360 --> 00:30:49,000 I've submitted an appeal. 406 00:30:49,000 --> 00:30:51,400 I went to court. 407 00:30:51,400 --> 00:30:56,639 I'm waiting for the answer. Haven't gotten it yet. But here I am. 408 00:30:57,200 --> 00:31:02,680 FLORA: I've just had three strokes, you can't see that a pulmonary embolism, you can't see it. 409 00:31:02,680 --> 00:31:05,360 I've spent months in a coma, you can't see it. 410 00:31:05,360 --> 00:31:10,560 I've been hemiplegic on my left side, it doesn't show. 411 00:31:10,560 --> 00:31:16,200 I was in a wheelchair, I had tubes, I had diapers and here I am today. 412 00:31:16,200 --> 00:31:20,400 I wasn't able to lift my foot before. Things are much better now. 413 00:31:20,400 --> 00:31:23,560 There are other people here who also have stories 414 00:31:23,560 --> 00:31:27,959 and this collage made it possible during the cutting process, 415 00:31:27,959 --> 00:31:31,879 for some of the residents get to know each other. 416 00:31:31,879 --> 00:31:33,479 Because, while cutting things out 417 00:31:33,479 --> 00:31:36,439 you realise “Hey so you did this”, “you did sport” “he made this”, there were 418 00:31:36,439 --> 00:31:39,519 They were those moments of dialogue between us 419 00:31:39,519 --> 00:31:40,839 that united us. 420 00:31:41,720 --> 00:31:44,319 I have known many people who have had difficulties. 421 00:31:44,319 --> 00:31:46,360 Sometimes we think we have it harder than others, 422 00:31:46,360 --> 00:31:48,600 until we meet people who have had more than we did. 423 00:31:48,600 --> 00:31:50,959 [music starts] 424 00:31:51,479 --> 00:31:55,039 MICHEL: We had the opportunity to meet all the inhabitants of Cité Refuge, 425 00:31:55,039 --> 00:31:58,119 both those who worked there and those who lived there 426 00:31:58,119 --> 00:31:59,959 and as the journey progressed, we managed to make 427 00:31:59,959 --> 00:32:02,000 one collage, two collages, three collages. 428 00:32:02,000 --> 00:32:08,000 We had recorded all these clips of voices, these phrases 429 00:32:08,000 --> 00:32:10,560 and we thought to ourselves 430 00:32:10,560 --> 00:32:12,600 that people always say beautiful things without realizing it. 431 00:32:12,600 --> 00:32:17,439 So we made a sound collage of all these recordings, 432 00:32:17,439 --> 00:32:24,119 which we played back in a large room at Cité Refuge, with video installations retracing 433 00:32:24,119 --> 00:32:26,800 the journey we had made with the people there. 434 00:32:31,280 --> 00:32:33,920 [music builds] 435 00:32:44,280 --> 00:32:46,720 ANNE-LAURE: What we like is small and big at the same time 436 00:32:46,720 --> 00:32:48,560 that change of scale. 437 00:32:48,560 --> 00:32:53,159 We liked the idea of saying: now we're going to take these little collages 438 00:32:53,159 --> 00:32:55,680 and we're going to make you get out of the Cité de Refuge 439 00:32:55,680 --> 00:32:57,759 because it was during COVID lockdown. 440 00:32:57,759 --> 00:33:02,159 We were fascinated by Le Corbusier's architecture where light is hyper-important 441 00:33:02,159 --> 00:33:05,600 and there are huge glass blocks 442 00:33:05,600 --> 00:33:08,600 that we had the idea of transforming into screens. 443 00:33:13,119 --> 00:33:15,680 [music continues building] 444 00:33:24,039 --> 00:33:28,680 ANNE-LAURE: It was their portrait radiating through the walls. The walls became porous 445 00:33:28,680 --> 00:33:31,000 and they all escaped for a little while through the windows. 446 00:33:41,039 --> 00:33:44,839 ALEX: It allows us to get together and talk to people from the outside too. 447 00:33:44,839 --> 00:33:51,280 Show them that even if we're just passing through the Cité de Refuge, 448 00:33:51,280 --> 00:33:55,319 that we can make art out of what we've been through in life, 449 00:33:55,319 --> 00:33:58,039 that it's not because you don't have money or you're homeless, 450 00:33:58,039 --> 00:34:00,519 that you don't know how to do anything. We know how to show 451 00:34:00,519 --> 00:34:02,519 what we can do with our values. 452 00:34:02,519 --> 00:34:05,239 It's taking shape and it really defines us well. 453 00:34:05,239 --> 00:34:08,159 Here you really see yourself in your own right 454 00:34:08,159 --> 00:34:11,319 and that's quite the impression, it's really real 455 00:34:11,319 --> 00:34:12,720 This is really... 456 00:34:14,560 --> 00:34:16,000 It’s... 457 00:34:16,000 --> 00:34:17,200 It's magnificent ! 458 00:34:17,200 --> 00:34:19,360 I'm at a loss for words because it's really, really beautiful. 459 00:34:26,680 --> 00:34:28,239 This really showed 460 00:34:28,239 --> 00:34:34,000 that we weren't just there to do a little workshop and stay inside the building. 461 00:34:34,000 --> 00:34:38,119 Already we were getting them outside of their home. 462 00:34:38,119 --> 00:34:41,720 And then we had another ambition. 463 00:34:41,720 --> 00:34:46,000 It was the springtime when we said OK, you've been on the walls of your home, 464 00:34:46,000 --> 00:34:50,000 now, we're going to put you back on the street, but not in a small way. 465 00:34:50,000 --> 00:34:52,280 We're going to make huge collages 466 00:34:52,280 --> 00:34:54,920 and stick them all over the rue du Chevaleret. 467 00:34:54,920 --> 00:34:57,039 That became the big street art campaign. 468 00:34:57,039 --> 00:35:00,879 [music continues building] 469 00:35:51,119 --> 00:35:54,519 FLORA: In life we need hope. 470 00:35:54,519 --> 00:35:58,759 When you live, you can't get discouraged and I think I'm the result of that. 471 00:35:58,759 --> 00:36:00,879 Because if I'd let myself go 472 00:36:00,879 --> 00:36:02,879 I wouldn't be alive today. 473 00:36:02,879 --> 00:36:05,959 I couldn't have worked or today be stuck on a wall, 474 00:36:05,959 --> 00:36:10,560 a giant wall like that which is behind me. 475 00:36:10,560 --> 00:36:15,200 When I saw it finished the tears really flowed, they were tears of joy! 476 00:36:15,200 --> 00:36:20,560 It's true that this is my story, it encompasses a lot of who I am. 477 00:36:20,560 --> 00:36:22,479 And this collage 478 00:36:22,479 --> 00:36:27,239 was done according to my story so I've expressed myself. 479 00:36:27,239 --> 00:36:30,000 I'm expressing myself here. When I see that, I see myself. 480 00:36:30,000 --> 00:36:32,119 I see Flore in her totality. 481 00:36:32,119 --> 00:36:33,759 [laughter] 482 00:36:43,159 --> 00:36:46,959 [distrant traffic] 483 00:37:06,639 --> 00:37:09,400 ANNE-LAURE: Bring it to me, I just want to see if I can get a cutter. 484 00:37:11,319 --> 00:37:13,200 No, that's much too big. 485 00:37:13,639 --> 00:37:14,200 The little one. 486 00:37:14,200 --> 00:37:14,800 It’s not too big. 487 00:37:14,800 --> 00:37:19,720 Yes it is. You've seen what we have to cut, I think it'll be much better. 488 00:37:21,159 --> 00:37:23,079 It's O.K. I'll take those scissors. 489 00:37:24,439 --> 00:37:28,720 ANNE-LAURE: Olivier we met him almost two years ago. 490 00:37:28,720 --> 00:37:34,519 The thing we were sensitive to, in fact, was that in the same way, we started Human Soul 491 00:37:34,519 --> 00:37:38,519 and we did Nelson, we were taken with his resilience 492 00:37:38,519 --> 00:37:42,039 and how well he resisted so well 493 00:37:42,039 --> 00:37:44,079 to the challenges of life. 494 00:37:44,079 --> 00:37:45,839 He also approached things with a great deal of philosophy, 495 00:37:45,839 --> 00:37:47,800 a sense of perspective that was a strength. 496 00:37:47,800 --> 00:37:51,039 Olivier was a successful entrepreneur and suddenly, 497 00:37:51,039 --> 00:37:55,959 when you find out you have an illness, the first thing you do is shut up. 498 00:37:55,959 --> 00:37:59,159 Otherwise your company could go under because no one will follow you. 499 00:37:59,159 --> 00:38:01,879 And he did just the opposite. 500 00:38:01,879 --> 00:38:05,959 He took part in this podcast where we were blown away because, 501 00:38:05,959 --> 00:38:07,560 he lay himself bare. 502 00:38:07,560 --> 00:38:09,920 ANNE-LAURE: So we had just taken this photo... 503 00:38:11,000 --> 00:38:12,560 MICHEL: It’s Olivier who took the photo. 504 00:38:12,560 --> 00:38:16,119 ANNE-LAURE: It was Olivier who took the photo of the entire “promotion” of that year 505 00:38:16,119 --> 00:38:18,439 of the Planches Contact Photography Festival. 506 00:38:18,439 --> 00:38:22,439 So it's all the artists from the foundation. It's a great team. 507 00:38:22,439 --> 00:38:23,600 And then we said to him: 508 00:38:23,600 --> 00:38:26,000 Olivier, we want to take a photo of you too. 509 00:38:26,000 --> 00:38:28,280 So he played along and the constraint 510 00:38:28,280 --> 00:38:33,720 was to make him stand up and then, he settled into that position. 511 00:38:33,720 --> 00:38:40,879 I like it a lot. I really like this photo because he really played along, he put all his energy into it. 512 00:38:40,879 --> 00:38:46,560 He stood up, he steadied himself and then, little by little, Michel let him go. 513 00:38:47,239 --> 00:38:49,400 And then, spontaneously, 514 00:38:50,319 --> 00:38:51,839 he took his pose. 515 00:38:52,360 --> 00:38:59,479 And what we find extraordinary is that his posture is one of open arms, truly open hands 516 00:38:59,479 --> 00:39:03,400 and actually looking up to the heavens. 517 00:39:03,400 --> 00:39:04,560 As if he'd predicted it. I mean, I don't know, it lasted two minutes. I said to him: 518 00:39:04,560 --> 00:39:06,639 [music starts] As if he'd predicted it. I mean, I don't know, it lasted two minutes. I said to him: 519 00:39:06,639 --> 00:39:08,680 As if he'd predicted it. I mean, I don't know, it lasted two minutes. I said to him: 520 00:39:08,680 --> 00:39:14,119 Olivier, here, I think you're the epitome of what we want to represent. 521 00:39:14,119 --> 00:39:15,879 It's the ultimate resilience. 522 00:39:15,879 --> 00:39:19,720 to be able to reinvent yourself, and on top developing new processes like this, 523 00:39:19,720 --> 00:39:21,000 is incredible. 524 00:39:21,000 --> 00:39:25,439 And there, in his pose, there's a real form of hope and at the same time... 525 00:39:25,439 --> 00:39:31,759 I don't know, when you say it's Christ-like, it's true that you want to ask yourself: 526 00:39:31,759 --> 00:39:33,239 What is he looking at? 527 00:39:40,239 --> 00:39:41,680 [music builds] 528 00:39:41,680 --> 00:39:46,079 MICHEL: In the end, the Human Soul project is always about this 529 00:39:46,079 --> 00:39:49,280 collage of life, this construction and deconstruction. 530 00:39:49,920 --> 00:39:53,439 We like to say that we all have shocks in our lives, 531 00:39:53,439 --> 00:39:55,519 more or less violent ones that accumulate 532 00:39:55,519 --> 00:40:00,759 Sometimes you can get through it, and then sometimes it all falls apart. 533 00:40:00,759 --> 00:40:06,839 We can imagine that for Olivier, in his relationship with his illness, his whole world collapsed. 534 00:40:06,839 --> 00:40:13,360 and what was really striking was the extent to which he was able to... 535 00:40:14,079 --> 00:40:16,560 To build something else out of his past. 536 00:40:23,879 --> 00:40:29,519 DENISE ZANET: Michel and Anne-Laure's Human Soul project 537 00:40:29,519 --> 00:40:30,959 is very close to our hearts, 538 00:40:30,959 --> 00:40:37,800 because Olivier is an ambassador for so many good intentions, 539 00:40:37,800 --> 00:40:44,759 with Photo for Food, his foundation which works against precariousness in France, 540 00:40:44,759 --> 00:40:52,239 but he's also raising funds for the Brain Institute, because he himself was diagnosed 541 00:40:52,239 --> 00:40:59,519 with an incurable disease - ALS, also known as Charcot's disease or Stephen Hawkins’ disease, 542 00:40:59,519 --> 00:41:03,360 and he was told that he had three years to live. 543 00:41:07,560 --> 00:41:10,680 [music stops] 544 00:41:12,839 --> 00:41:14,839 MICHEL: It's Le Havre on the other side. 545 00:41:16,400 --> 00:41:18,200 It could look great in the shot. 546 00:41:18,200 --> 00:41:20,039 ANNE-LAURE: In fact, it's going to be very urban, 547 00:41:20,039 --> 00:41:22,639 there will be a contrast between the beach and... 548 00:41:22,639 --> 00:41:25,959 MICHEL: I wonder if we'll be able to see it. But it would be nice to be able to see it. 549 00:41:27,839 --> 00:41:30,959 [music starts again] 550 00:41:36,079 --> 00:41:37,920 Wait, I'll put it on your back. 551 00:41:38,959 --> 00:41:39,959 MICHEL: I got it. 552 00:41:40,680 --> 00:41:41,600 ANNE-LAURE: You’re OK? 553 00:41:41,600 --> 00:41:42,200 MICHEL: It's OK. 554 00:41:42,200 --> 00:41:43,639 ANNE-LAURE: Careful, it’s gonna slide. 555 00:41:43,639 --> 00:41:44,720 MICHEL: No, no, we’re OK. 556 00:41:44,720 --> 00:41:45,319 ANNE-LAURE: Are you sure? 557 00:41:45,319 --> 00:41:46,200 MICHEL: Yeah. 558 00:41:48,720 --> 00:41:49,800 [door slams] 559 00:41:59,800 --> 00:42:01,560 [music builds] 560 00:42:10,200 --> 00:42:12,839 DENISE ZANET: As with Olivier Goy project, 561 00:42:12,839 --> 00:42:16,839 the first thing that grabs me in Human Soul is the heart. 562 00:42:16,839 --> 00:42:19,400 It’s the energy that comes out of Human Soul. 563 00:42:19,400 --> 00:42:23,439 The way they integrate the landscape 564 00:42:23,439 --> 00:42:27,759 with their collages, in such a dreamlike form, 565 00:42:27,759 --> 00:42:30,759 talking about issues that are important to us today, 566 00:42:30,759 --> 00:42:34,680 like ecology and our footprint in the world, 567 00:42:34,680 --> 00:42:40,959 in such a poetic way, I think they're on the right track. 568 00:43:07,800 --> 00:43:10,720 [music continues building] 569 00:43:18,360 --> 00:43:22,360 OLIVIER GOY COMPUTER PROCESSED VOICE: I’d like to remember that I'm joining a gallery of fighters. 570 00:43:22,360 --> 00:43:26,800 it’s an honor to be in this beautiful gallery of people proudly wearing their scars. 571 00:43:27,720 --> 00:43:29,759 Illness galvanizes me. 572 00:43:30,119 --> 00:43:33,239 It opened my eyes to the value of life and of the present moment. 573 00:43:33,800 --> 00:43:35,519 Not being afraid of death. 574 00:43:35,519 --> 00:43:39,479 means enjoying life to the full. Taking advantage. 575 00:43:40,159 --> 00:43:43,800 Without regretting yesterday, without fearing tomorrow. 576 00:43:44,400 --> 00:43:46,119 Fully being alive. 577 00:44:01,000 --> 00:44:02,720 [music stops] 578 00:44:12,800 --> 00:44:14,519 [distant traffic] 579 00:44:23,959 --> 00:44:25,680 [indistinct chatter] 580 00:44:37,119 --> 00:44:40,200 CITE DE REFUGE WORKER: How are you? It's a pleasure to see you 581 00:44:40,200 --> 00:44:40,959 MICHEL: We’re back! 582 00:44:40,959 --> 00:44:42,079 CITE DE REFUGE WORKER: Yes! 583 00:44:44,200 --> 00:44:47,519 How are you? Sorry, we're being filmed. 584 00:44:48,360 --> 00:44:52,800 We're back with a vengeance, we want to create an installation on the roof. 585 00:44:52,800 --> 00:44:56,360 Oh yes, they told us about it earlier, Malik came by. 586 00:44:56,360 --> 00:45:00,519 We're going to cut, cut, cut! 587 00:45:00,519 --> 00:45:05,439 and bravo for everything you did here... 588 00:45:05,439 --> 00:45:06,879 [footsteps] 589 00:45:06,879 --> 00:45:08,360 [indistinct chatter] 590 00:45:09,280 --> 00:45:10,759 MICHEL: How are you? All good? 591 00:45:11,639 --> 00:45:12,680 MALIK: Hi there! Hi there! 592 00:45:13,239 --> 00:45:14,000 ANNE-LAURE: How are you? 593 00:45:14,920 --> 00:45:17,400 Hi, there. How are you? That's Michel... 594 00:45:18,239 --> 00:45:21,600 ANNE-LAURE: Hi there! Hello! MALIK: This is Denis and Mr Diallo... 595 00:45:21,600 --> 00:45:22,479 MICHEL: I'm Michel. 596 00:45:24,039 --> 00:45:25,519 MALIK: And Mr Dominguez. 597 00:45:25,519 --> 00:45:28,560 The funny thing is that this project on the roof 598 00:45:28,560 --> 00:45:32,839 was the very first project we proposed to start this adventure 599 00:45:32,839 --> 00:45:34,600 and finally, after three years 600 00:45:34,600 --> 00:45:39,280 of projects and adventures, we're ending on a high note with this idea that we had at the start 601 00:45:39,280 --> 00:45:44,759 where we really wanted to put portraits on the roof and be able to see you from the sky. 602 00:45:44,759 --> 00:45:48,119 In fact, the idea is that each time we asked people to tell us about themselves, we created 603 00:45:48,119 --> 00:45:51,039 their portrait in the form of a collage. Maybe Malik showed you some of these. 604 00:45:51,039 --> 00:45:54,000 Afterwards, from these small collages, 605 00:45:54,000 --> 00:45:56,920 we make large collages and recontextualize them in the environment, 606 00:45:56,920 --> 00:46:02,839 in which people live. It's our way of marking this territory, this piece of land. 607 00:46:02,839 --> 00:46:07,360 So we don't have a blank page, our blank page is a piece of territory seen from the sky. 608 00:46:07,360 --> 00:46:13,639 In this case, the site of the Cité de Refuge and from the sky we will be taking a photo 609 00:46:13,639 --> 00:46:18,720 of our XXL installation that will show your place in this city. 610 00:46:19,800 --> 00:46:22,000 Will you come with me, gentlemen and we'll go get the collages. 611 00:46:22,000 --> 00:46:24,439 [music starts] 612 00:46:36,360 --> 00:46:38,800 [indistinct chatter] 613 00:46:47,400 --> 00:46:48,839 Oh! Zaïnabou! 614 00:46:52,519 --> 00:46:55,239 EDDY: It's been a long time. 615 00:46:56,839 --> 00:46:58,560 You got your papers? 616 00:46:58,560 --> 00:47:01,079 Yes, that was settled - thank you. 617 00:47:02,720 --> 00:47:05,400 Wait, that's amazing news ! 618 00:47:07,400 --> 00:47:11,360 I have the Carte Vitale, that's the driver’s license. 619 00:47:11,360 --> 00:47:13,280 This is my ID. 620 00:47:13,280 --> 00:47:17,039 This is ID of my home country and the Pass Navigo. 621 00:47:18,119 --> 00:47:23,720 Frankly, it's life-changing. I have all the cards now I'm just waiting for work. 622 00:47:23,720 --> 00:47:26,720 Thanks to God first of all, the good Lord who sees all 623 00:47:26,720 --> 00:47:29,879 and to the Cité de Refuge of course 624 00:47:29,879 --> 00:47:35,839 and being here again makes me happy we're back to make the posters and stuff, 625 00:47:35,839 --> 00:47:38,280 We're here to help Anne-Laure and Michel. 626 00:47:41,839 --> 00:47:44,759 The more time passes, the happier we are to continue the adventure. 627 00:47:44,759 --> 00:47:47,239 They put a lot of joy in here, so... 628 00:47:47,239 --> 00:47:51,560 So it's really important. It was really important to take a little bit of people's souls, 629 00:47:51,560 --> 00:47:56,319 to highlight them and also to show that they exist 630 00:47:56,319 --> 00:47:58,879 All of this experience has been really great In fact, a lot people participated. 631 00:47:58,879 --> 00:48:01,360 I think it's something that was very successful. 632 00:48:01,360 --> 00:48:04,839 Everyone today is asking about them. 633 00:48:04,839 --> 00:48:07,600 They really left a mark, an important imprint on the people here 634 00:48:14,560 --> 00:48:16,239 ANNE-LAURE: We should have brought knee-pads. 635 00:48:16,720 --> 00:48:17,639 [laughter] 636 00:48:18,119 --> 00:48:19,920 It warms the heart to be here. 637 00:48:21,200 --> 00:48:25,800 It's heartwarming because you always meet new people and here, we have an incredible team. 638 00:48:25,800 --> 00:48:30,639 We didn't know each other this morning and here we are and they've really got 639 00:48:30,639 --> 00:48:36,000 a good grasp of the project. We're super efficient and it's great, it's a really good time, 640 00:48:36,000 --> 00:48:38,479 [music stops] it's really pleasant 641 00:48:38,479 --> 00:48:39,119 It's cool 642 00:48:39,119 --> 00:48:41,119 I’m so happy everyone is here 643 00:48:41,119 --> 00:48:45,000 It's about conviviality and getting to know each other. 644 00:48:45,000 --> 00:48:47,119 I love meeting new people. 645 00:48:51,839 --> 00:48:55,000 [footsteps] 646 00:49:02,119 --> 00:49:03,439 MICHEL: Malik, we’re gonna do this one. 647 00:49:09,360 --> 00:49:11,000 We’re over here. 648 00:49:18,159 --> 00:49:22,560 ANNE-LAURE: It’s all good, no? I think you're on top of things, Mr Diallo. 649 00:49:22,560 --> 00:49:24,119 Yeah, you got it? 650 00:49:24,119 --> 00:49:25,200 MR. DIALLO: Yes, I'm good. 651 00:49:25,200 --> 00:49:26,319 [laughter] 652 00:49:26,319 --> 00:49:33,879 It's the conclusion of an adventure with the residents of Cité de Refuge 653 00:49:33,879 --> 00:49:36,319 and this magnificent building by Le Corbusier, 654 00:49:38,639 --> 00:49:40,639 inhabited by these beautiful souls. 655 00:49:41,479 --> 00:49:45,039 And I think our friend Le Corbusier would be very, very happy to see this. 656 00:49:45,039 --> 00:49:48,039 [music starts again] 657 00:49:59,920 --> 00:50:02,239 [indistinct chatter] 658 00:50:02,639 --> 00:50:03,639 That’s me? 659 00:50:13,079 --> 00:50:15,680 MR. DIALLO: It's been a pleasure for me. 660 00:50:15,680 --> 00:50:19,079 It allowed me to move around, I'm very happy. 661 00:50:19,079 --> 00:50:21,680 I've met a wonderful team. 662 00:50:21,680 --> 00:50:26,639 I'm sorry we have to leave each other since you're going to go. 663 00:50:26,639 --> 00:50:29,360 I would want to continue to always work with you. 664 00:50:29,360 --> 00:50:33,119 It's been a great, great pleasure. I'm very, very happy. 665 00:50:33,119 --> 00:50:35,439 [music builds] 666 00:51:04,239 --> 00:51:07,560 MICHEL: I'm blown away by the alignment of the planets. 667 00:51:07,560 --> 00:51:13,200 The plants are in their place, the collages are in their place. People are in their place. 668 00:51:13,920 --> 00:51:16,319 We've settled into the movement and we’ve found our place. 669 00:51:20,200 --> 00:51:23,200 MICHEL: With a little tear 670 00:51:23,200 --> 00:51:26,319 for the people we're leaving because we’ve developed 671 00:51:26,319 --> 00:51:28,639 a strong relationship for this experience. 672 00:51:28,639 --> 00:51:34,400 The portraits of the people who were with us during this covid, during a year 673 00:51:34,400 --> 00:51:40,319 and it's quite touching to see them there again, printed on the building. 674 00:51:49,680 --> 00:51:51,879 [music stops] 675 00:52:33,239 --> 00:52:38,519 ANNE-LAURE: So tonight's event is a double one. It's both the opening of our gallery ‘La Piscine’ 676 00:52:38,519 --> 00:52:42,600 and the inauguration of our exhibition. 677 00:52:43,519 --> 00:52:44,759 A double challenge. 678 00:52:44,759 --> 00:52:49,039 It's a bit exciting to think, well, are people going to come? 679 00:52:49,039 --> 00:52:52,400 Will they be curious enough to come and discover this space? 680 00:52:52,400 --> 00:52:53,759 I have the impression that people are talking about it, 681 00:52:53,759 --> 00:52:56,720 so I'm afraid there'll be a lot of people, and at the same time, I don't know. 682 00:52:56,720 --> 00:52:59,759 Maybe there won't be. I have no idea, actually. 683 00:53:01,439 --> 00:53:04,360 MICHEL: It came gradually. It's always the spacewe live in. 684 00:53:04,360 --> 00:53:05,959 So here we have 685 00:53:06,360 --> 00:53:08,959 three video projectors we'd used for the Salvation Army. 686 00:53:08,959 --> 00:53:13,439 So it's a triptych of each story, each portrait 687 00:53:14,239 --> 00:53:19,079 and now it's going to be presented tonight in the pool with DJ B-Side 688 00:53:19,079 --> 00:53:22,519 who's going to do a sound improvisation. 689 00:53:22,879 --> 00:53:26,319 So we realize it's quite a feat 690 00:53:26,319 --> 00:53:30,400 to open an art venue right in the center of this neighborhood. 691 00:53:31,280 --> 00:53:35,119 And this performance, in fact, is yet another Human Soul performance, 692 00:53:35,119 --> 00:53:40,400 because we're bringing back all the portraits we've built up along the way. 693 00:53:40,400 --> 00:53:43,600 We bring them back to my childhood home 694 00:53:43,600 --> 00:53:47,759 and we use them to integrate into the social fabric here. 695 00:53:47,759 --> 00:53:51,400 So we're back to building relationships through art, 696 00:53:51,400 --> 00:53:53,680 with the portraits we've created around the world. 697 00:53:53,680 --> 00:53:58,479 The question is, will it work? Will it resonate with the people? 698 00:53:58,479 --> 00:54:00,159 I think it will work. 699 00:54:00,159 --> 00:54:05,479 In any case, it's already worked because it's allowed us to meet some pretty exceptional people. 700 00:54:05,479 --> 00:54:09,319 It's partly thanks to the people I've met recently that I'm taking the trouble to create this. 701 00:54:10,200 --> 00:54:13,400 So, it's a kind of a... 702 00:54:14,680 --> 00:54:16,600 An endless search... 703 00:54:17,519 --> 00:54:22,319 that never stops because every new encounter inspires us to do something else. 704 00:54:22,319 --> 00:54:25,400 [footsteps] 705 00:54:57,079 --> 00:55:00,159 [man singing on video] 706 00:55:00,360 --> 00:55:03,439 [live music building] 707 00:55:06,879 --> 00:55:10,159 ANNE-LAURE: We've always worked on our project 708 00:55:10,159 --> 00:55:12,920 starting with the individual, then the ethnic group 709 00:55:12,920 --> 00:55:17,319 and here, it's like creating a Human Soul at the scale of a neighborhood 710 00:55:17,319 --> 00:55:20,280 and to see the reaction, to see if it can take hold 711 00:55:20,280 --> 00:55:23,360 if it can federate, if it can create... 712 00:55:23,360 --> 00:55:25,560 Not a community, because we're not community-minded 713 00:55:25,560 --> 00:55:28,159 [music starts] but it's just about creating something and bonding us 714 00:55:28,159 --> 00:55:29,800 around this project. 715 00:55:29,800 --> 00:55:31,479 Since it’s a meeting place, 716 00:55:31,479 --> 00:55:35,519 all we want is for everyone to tell their story and bring something to the table. 717 00:55:36,159 --> 00:55:37,879 So it’s a challenge! 718 00:55:44,879 --> 00:55:47,079 [music builds] 719 00:56:31,119 --> 00:56:35,039 DIMITRI BECK: Human Soul is best described as an encounter. 720 00:56:35,039 --> 00:56:39,039 and in Human Soul, there's the human and the soul. 721 00:56:39,039 --> 00:56:44,639 And finally, in encounters, we find - we must find - the human soul, that is to say, what 722 00:56:44,639 --> 00:56:49,519 makes people come alive, what makes us want to live, to love, to undertake, 723 00:56:49,519 --> 00:56:51,159 to go out and meet others. 724 00:56:51,159 --> 00:56:54,720 Human Soul, we’re in it, we're in this soul... 725 00:56:54,720 --> 00:57:02,800 They've found these individual beauties in places you'd never imagine existed. 726 00:57:02,800 --> 00:57:05,879 We think we'd have to go to other planets to see this. 727 00:57:06,400 --> 00:57:08,639 So it's an interstellar voyage and... 728 00:57:09,680 --> 00:57:10,759 We're floating 729 00:57:10,759 --> 00:57:16,079 When we meet Nelson, with all his beauty and all his... 730 00:57:16,079 --> 00:57:18,280 We can obviously see that he lives in another country, 731 00:57:18,280 --> 00:57:19,560 completely different from ours, 732 00:57:19,560 --> 00:57:24,000 but at the same time, it's a kind of mirror of ourselves too. 733 00:57:24,000 --> 00:57:25,560 In the same way, when you see the Salvation Army, 734 00:57:25,560 --> 00:57:27,839 it offers a kind of beauty of the other 735 00:57:27,839 --> 00:57:29,360 and curiosity about the other. 736 00:57:29,360 --> 00:57:33,400 And when you come out of this encounter with Human Soul, 737 00:57:33,400 --> 00:57:38,360 it makes you want to see even more, to go out and meet others too, 738 00:57:38,360 --> 00:57:40,479 whoever they may be, in the street. 739 00:57:40,479 --> 00:57:43,400 And this is a form of... love 740 00:57:43,400 --> 00:57:48,920 or at least a greater interest in others. 741 00:58:01,239 --> 00:58:02,400 ANNE-LAURE: You know, we were afraid. 742 00:58:02,400 --> 00:58:07,159 We were afraid because we said so: tonight, we get naked, doubly naked. 743 00:58:07,159 --> 00:58:10,680 In other words, when you're an artist and you have an exhibition, 744 00:58:10,680 --> 00:58:14,319 you're always worried about how your work will be perceived. 745 00:58:14,680 --> 00:58:17,920 So we both got naked because we showed our work, 746 00:58:17,920 --> 00:58:19,639 our collages, our photos. 747 00:58:19,639 --> 00:58:23,439 So already as artists, we're wondering how our work will be perceived, 748 00:58:23,439 --> 00:58:27,800 but more than that, we were opening up our home, telling people about our lives. 749 00:58:27,800 --> 00:58:29,159 In the end, 750 00:58:29,680 --> 00:58:33,839 this suggestion of an elsewhere, 751 00:58:33,839 --> 00:58:34,959 with people who, through resilience 752 00:58:34,959 --> 00:58:37,039 [music stops] with people who, through resilience 753 00:58:37,039 --> 00:58:38,920 develop this richness 754 00:58:39,879 --> 00:58:41,959 of savoir vivre 755 00:58:43,039 --> 00:58:44,000 Well... 756 00:58:44,839 --> 00:58:48,519 When we share it, it reassures everyone and in fact we are really happy 757 00:58:48,759 --> 00:58:50,479 and it’s quite moving. 758 00:58:51,680 --> 00:58:52,439 [laughter] 759 00:58:52,439 --> 00:58:53,360 that’s cool 760 00:58:53,360 --> 00:58:55,079 [music starts] 761 00:59:09,360 --> 00:59:14,360 I'd like to finish by saying that when you meet a beautiful person... 762 00:59:14,360 --> 00:59:15,639 You keep them 763 00:59:15,639 --> 00:59:20,360 Find a way, find a way to live an adventure with them. 764 01:00:16,879 --> 01:00:21,119 [music stops]