tv Arts.21 Deutsche Welle March 30, 2019 12:30pm-1:01pm CET
forty five minutes w. . what secrets lie behind these memos. find out in an immersive experience and explore fascinating blonde cultural heritage sites. the d w world heritage three sixty. welcome to alice twenty one today with three remarkable women. the revolution three done change three movement. the has redefined our concept of space and the human body she's one
of germany's most versatile and best known choreographer. the. photographic special national born in iran the artist is a woman of courage she supports opponents of the regime in her home country and sees the south as a freedom fighter deploying the weapons of arms against the suppression of muslim women. the price you must pay is a life in exile. the undisputed queen of performance art marina abramovich one of the most radical artists of our time she uses her own body to convey her ideas and explore boundaries. of trust remember. last page. today she's an icon. we may all three these exceptional artists each has overcome a number of obstacles along their way and encounter with three unstoppable women.
spring in new york twenty ten in the museum of modern art marina abramovic ventures to do what no art history for her has ever attempted a seven hundred fifty hour performance. for three months she sits on a wooden chair silently looking into the eyes of her visitors an existential experience. the artist is present is the performance which makes marina abramovich a legend. also in twenty sixteen we meet her in new york on his seventieth birthday. a woman who knows the
effect she has a bit of a diva cool and very intense. mother. forgiveness. long. loneliness. marina abramovic has turned her life into a ruthless she has exposed herself to pain. discomfort. even danger ever since the one nine hundred seventy s. . abramovich grew up after world war two in belgrade the capital of communist
yugoslavia. had parents the partisans who had fought the nazis during the war. the father was a high ranking officer and mother historian it was a strict time where discipline was more important than love. the trial that was in a painting my dreams and then i was writing poetry and then i thought the car then me and then i start painting and then from the painting somehow come this old idea of making a performance i really was thinking to be in the studio in and paint something which is two dimensional so actually restricted what about going out or what about using fire the water using the elements using the own body using your own blood and your own emotions and creating art with that and this was really my beginning and of course with the syntax of the slavia which was in the early access to the other ideas similar in that time internationally i was like
a black sheep in the middle of nowhere and and everybody was thinking i'm completely crazy this war is nothing this is not you can't call this art my professor. we parents was criticized on party meetings and i just continued the only thing i had the time it was my intuition some hole somewhere i was right up. this beautiful. past is more than skin deep literally she brushes her hair until his skull leads to criticize the fact that art should only ever feel beautiful. cause the pain to myself in order to free myself from pain the pain is ok this was exactly you're not you're free the pain confront to stop with the tree of that's exactly what i have to be done and it's in my life to become something that i do with everything you know if i'm afraid of something or you have
a panic ng or i'm going to or norm i would do it. in a city rainy and shirin neshat uses her work to come to terms with her home country . when the islamic revolution swept through iran in one nine hundred seventy nine she really shot was living in the us. she didn't return to iran until a decade later it was the last visit. these photos of her response to the country's altered cultural landscape women who wear veils but exude self-confidence nonetheless i saw our finest obviously world war as a war yet i make big work. syrian national it is soft spoken and reserved and ambitious when it comes to her work in turkey twenty seventeen her lifetime achievement was honored with the global arts prize premium imperioli then it's familiar territory she's won several major awards here during the b.
in only in twenty seventeen she had an exhibition at the revered billard summer zero career. in. the her. one of my eyes is a series of large portraits. measured first a graph of men and women of all ages in azerbaijan neighbor to iran and former member of the soviet republic each person has a similar pose. as their invasion was a part of iran until the nineteenth century so when i went as our agent i felt like i was going home and me that never goes back to iran being as average and was very sort of moving for me and it was dancing. as a passion is a multi-ethnic nation between the caucasus mountains and the caspian sea. here and muslims jews and christians lived peacefully side by side.
the artist also asked her photos subjects about their notion of home and penned their own says on to their portraits in the home of my eyes sharing a shot also questions herself. i've lost all flavor of what is the meaning of home by being nomadic or not homeless by now magic and it was a interesting because there the things that they pointed out to were that what was the essence of the meaning of home to them certain reasons that with never ever allowed them to leave as i buy insurance i need questioning them a bad they're in their relationships as a concept of home was really my own self looking into the mirror and asking those questions to myself. sharing their shot enjoyed a middle class liberal upbringing and went to a catholic boarding school in tehran early on she knew she wanted to be an artist when she was seventeen she went to the us to study the western backed shah was
still in power at the time. then in one nine hundred seventy nine he was overthrown and the islamic fundamentalist ayatollah khamenei took over young she. and i should could no longer go back to see her. i think those years were the most traumatic years of my life this separation became really critical for me as a young person who was not quite at ease with the american quarter and there's that we wanted to go home but it wasn't possible because their ports were caused by iranian and american relationship broke down and the war with iraq had become so serious that my family just said please don't even think of coming back before you know it you find other people who are in the same situation and you bond together like i have with my husband with my colleagues that i work with and we create our own community as survivors and we made arts and and then you end up
creating pioneering your own lifestyle that is not magic. the film royer shows how little shirin neshat felt at home in the usa the country of exile. collaborating and occupying free spaces is also familiar to the shah votes to join choreographer moved to berlin in the early ninety's ninety's shortly after reunification. the transitioning says he was an elder rather of sorts for the arts fringe anything was possible that of us found at the dance and song book about it and guests and set off on a journey into the on. a list was total i didn't want anything one dimensional where you say one thing and everybody understands the same thing. so that's pretty
boring to me. soon of us discovers there's a female of a new and choreographs her first successful dance piece there are later cosmonaut an avenue of the cosmonauts. and an offbeat provocative production part of a trilogy on the absurdities of domestic life. the company spent months researching in the communist era housing complexes of east berlin. russia votes travels the world with her company in twenty thirteen they received an invitation to kolkata. in collaboration with indian choreographer padmini chaytor and her ensemble of arts designed a performance in the courtyard and wings of an old private palace from the colonial era.
of the project in calcutta was very unusual it was set in an old palace and it led a different kind of storytelling emerge that way the rooms had been sealed off it was as if the life that had taken place there before had stood still and it was like a fairy tale where everybody had fallen asleep in time passes over them the pictures on the wall fade dust settles everywhere. travelling has always been a part of the way we see ourselves right from the beginning it defines our longing and our self image of first then. initially but it's danced along with her ensemble she was seeking new forms of expression also with other performing arts dance alone has never been enough for her up front fee i started taking dance lessons when i was five until the age of about twelve. it was only after. i discovered post modern
dance and contact improvise ation with some doll of these techniques of consciousness and perception that i really developed an interest in studying dance concert studio during a five year stint as an artistic director of bilin shall be in a theatre session boats created one of the most significant productions coppa. it's an exploration of anatomy that delves into every aspect of the human body both inside and out. time and again the company conjures images that see themselves into the view is memory like a nightmare. at the same time possession of us isn't afraid of venturing into more abstract territory in fall when she takes dance back to its more ceremonial ritualistic our regions while her early works were wilder and closer to daily life her later choreography is feel more crafted or artificial for korea to or she transforms dances into animalistic creatures and
explores social issues. of our girl of your mother was a gallery and your father an architect. so you may have inherited your talent for strong visuals from the one side but space has also always played a key role in your work what you look for in a space what appeals to you. might actually rehearse to building sites a lot of the jewish museum had only just been completed it was still empty and the collection hadn't been installed yet usually we're performing that special moment before the space assumes the function it was designed for. it's exciting because that's the moment that breathes life into a space like that became really clear to me with our work for berlin's noise museum the space had this incredible energy.
choreographed exploration of unusual buildings is just one facet of her work. celebrated opera premiers have followed. many of the world's major opera houses are now open to paris rome tokyo and berlin she oversees the entire stage production transforming even the unwieldy medium of opera to give it her own signature. back to marina abramovic each. major retrospective exhibition the cleaner has been touring europe since twenty seventeen. marina abramovich larger than life
a true icon. her art has changed many people's perceptions. penman was walk through walls were published in twenty sixteen. performance and more my last really the longest you ever did how did this idea. come into life i know it was very difficult i know that was the man the process but they also know that it was my new trends to learn to show up to the public transformative force of performers and with the absolute supreme nothing. other than this artist is present thinking that this chair will be empty before this new york nobody have time to sit and say it's crazy it was weird to sit. from
the few travels there was never to have people slept in the front of the museum. and i was thinking why this important performance gets you know attention i think because the public right now is so much ready for this kind of spirits twenty years ago was not the right that there was will be something else going on to try to tired of walking to swim so tired. of the goddess of technology of non-communication completely ability to have emotions to have relationships aug sept me right now so the public want to be part of something that they can back their own experience which will give to them. the situation for women in iran is the ever present theme for shirin neshat she
a greatest marvel written by one of the most important young women writers who have lived in exile. and you know i've often written poetry and my work and my photographs by master poets that i want. i somehow look up to woman particularly women that compromise very oppressive societies yet quite empowered by things to his don't let me know that santa comes diminished in the next so yeah and if all goes well index a young flooded on economic invention front men i mean i don't condone. the time it used to your mind then you've just a few me then do me and mine if only the three didn't const i'm happy and i'm going to france right. this is not a place of any. do you want to talk and not with you just i think. if you did that's just me. women without men is her most political
film yes. she wasn't able to shoot in iran. the film won a silver line at the two thousand and nine bennis film festival. are you a feminist artiste this question has been asked for me a lot and i was asked my ideas do you think i'm a feminist they all said yes so confusing our film is that no problem i'm extremely interested. in women in the way that. their lives no matter which country what culture they come from and that it's always this the reality of cindy fragile and vulnerable and yet extremely strong and defy. her latest film is dedicated to the egyptian singer foom a tribute to the icon of the arab world. oh. really hurt.
during our shared likes to take a gamble. the. german choreographers russia is also driven to new challenges as of twenty nineteen she will become the first ever woman to co-direct billion stars. traditionalists of the dance scene have severely criticized her appointment. for them i think it's a great opportunity for dance to explore these extreme positions i want to preserve classical ballet on the one hand and create space on the other hand for contemporary choreographers with a contemporary language to work with this diversity in these different possibilities of the body. and thus. should be able to create an ensemble that can work with these extremes extreme or.
new challenges in twenty nineteen it's certainly not an easy course. none of which has never really cared much about what others thought of her her public image is again she has the will to be different she'll be happy to glow in her own way. if you look at the funny performance fashion of the of the performance artists it was make it ugly blake or dirty white this is it with any other thing to wear and lipstick i'm a polish you know fashion was totally disregard it's like a fairytale of something that is ridiculous that is like you know it's just the you know kind of completely borger idea that artists not look like they don't want to be like a kind of abundant and long and miserable i want to feel good and this and this
really works with the with the sun with the you know just like just about fashion is about i do meditation with the retreats i'm going to wear you away the places in india i have the all system off to actually how i work with my body my works plan two thousand twenty five to space to breathe for the souls to bring you know your performances and trying to do different projects collaboration works so all this mess and then comes this island of quietness which is the performance itself. oh. in his more recent works the artist has been tackling more and settling issues like death. you are really are you. you know that you know that you're going to the last part of your life and you have to
really concentrate on most important things and i decide to be happy this is my main you know kind of kind to say. this isn't about that in seventy five i bought. the. game. but. i will save some more by buys some more things i think by buying this is getting long where you want to be they also already say bye bye happiness bye bye suffering bye bye. intensity i actually will bring back i don't want to say bye bye to intensity i'm intense you and i but i will say the bye bye bullshit. three artists three free spirits all made it to the top. i moved on
and i don't want to always live with this sense of longing in this romantic idea of return i feel that i have come to an end of that chapter and my stories make concepts my characters are changing what remains constant is myself. for me it's useless clemmie the strength of dance lies in the fact that it's language is so much freer that's what makes it so grand being able to touch that secret behind as we watch. every dog leg tell me things to me is looking to apologise but i can go through this is this really this is what is still going to prove that i didn't put myself in anything at all.
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the prize winning documentary from the forest starts april first on w. this is news five from berlin it was the day bret said it was supposed to happen said new chaos and uncertainty as for dish lawmakers project i'd rather deal to leave the e.u. thousands of supporters filled the streets for what was planned as a celebration instead they're calling it a betrayal of parliament votes down teresa mayes with strong steel for a third time also coming up years of an epidemic because hundreds of people