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tv   Arts.21  Deutsche Welle  April 1, 2019 12:30am-1:00am CEST

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sex maker. raring to leave. if there is any for friday to remember you'd have to find it between the wire. the trust hundred germany frustrates. the world. welcome to alex twenty one today with three remarkable women. told the revolution three dunce change through 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 especially when national born in iran the artist is
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a woman of courage she supports opponents of the regime in her home country and sees the self as a freedom fighter deploying the weapons of arms against the suppression of muslim women. the pressure must pay as 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 and last page. today she's an icon. we made all three of these exceptional artists each has overcome a number of obstacles along their way an encounter with three unstoppable women.
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bring in new york twenty ten in the museum of modern art marina abramovich ventures to do what no art has the 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.
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forgiveness. long. loneliness. marina abramovic has turned her life into ruthlessness 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 with partisans who had fought the nazis during the war. the father was a high ranking officer and mother historian it was
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a strict discipline was more important than love. the trial that was you know painting my dreams and then i was writing poetry and then i thought academy 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 a studio in 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 this inexorable 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. frame of we parents criticize our party meetings and i just
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continue the only thing i have the time it was my intuition some hole somewhere i was right out. of you to. ask you to. pass is more than skin deep literally she brushes her head until his skull leads to criticize the fact that aren't should only ever be useful. if i caused the pain to myself in order to free myself from pain the pain is ok and this was exactly you're not you're free the pain confront the self with pain 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. panicking or i'm going to or norm i would do it. in
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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 renee shut 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. they flee world war yet and make it work. syrian national it is soft spoken and reserved and then precious when it comes to her work in turkey and twenty seventeen her lifetime achievement was honored with the global arts price premium imperioli venice is familiar territory she's won several major awards here during the b. in a in twenty seven team she had an exhibition at the revered bailouts of mercy of the rare. the home of my eyes is
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a series of large portraits. measured photographed men and women of all ages in azerbaijan neighbor to iran and former member of the soviet republic each person has a similar pose. separation was a part of iran until the nineteenth century so when i went as average and i felt like i was going home and me that never goes back to iran being you know as our version was very sort of moving for me and was damaging. azerbaijan is a multi-ethnic nation between the caucasus mountains and the caspian sea. here muslims jews and christians live peacefully side by side. the artist also asked her photo subjects about their notion of home and penned their own says on to their portraits in the home of my eyes sharing
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a shot also the questions herself. i've lost all flavor of what is the meaning of home by being nomadic or not homeless but 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 by insurance of any question in them a bad there in their relationships as a concept of home was really my own self looking into the mirror and asking those questions to myself. shirin neshat 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 u.s. 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. initially i could no longer go back to see her family.
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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 culture and theirs that they wanted to go home but it wasn't possible because the airports 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 my colleagues that i work with and we create our own community as survivors and i really made arts and and then you end up creating pioneering your own lifestyle that is not magic.
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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 sasha votes to join choreographer moved to berlin in the early one nine hundred ninety s. shortly after reunification. the transitioning says he was an elder rather of sorts for the arts fringe anything was possible. it's found at the dance and sample that shots 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. that's pretty boring to me. soon of us discover is this a fiend sale of a new choreographs her first successful dance piece there i live or avenue of the
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cosmonauts. and 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 chatter and her ensemble of us designed a performance in the courtyard and wings of an old private palace from the colonial era. and sons of the project in calcutta was very unusual it was set in an old palace
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and it led a different kind of storytelling emerged 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 for i started taking dance lessons when i was five until the age of about twelve. it was only after. i discovered postmodern dance and contact improvise ation was silent all of these techniques of consciousness and perception that i really developed an interest in studying dance concert studio
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during a five year stint as an artistic director of bilin shall be in a theater it's 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 origins while her early works were wilder and closer to daily life her later choreography is few more crafted or artificial feel clear to it she transforms dances into animalistic creatures and explores social issues. of our grandmother your mother was a gallery and your father an architect. so you may have inherited your talent for
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a 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. is my actually rehearsed a 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 and usually we're performing at 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. the choreographed exploration of unusual buildings is just one facet of her work.
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celebrated opera premiers have followed. many of the world's major upgrade 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. the major retrospective of the 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.
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performance and more over the past really the longest you ever did how did this idea. come to life i know it was very difficult i know that was the man the process but they also know that it was my new trance to learn to show to the public transformative for support for us and with the absolute supreme nothing. other than this artist is present with thinking that this chair will be empty because this new york nobody have time to sit in a single screen as it was wont to sit in. brought a few troubles there was never empty i had people slept in the front of the museum .
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and i was thinking why this important performance scripts are credible 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 red there was will be something else going on to try to now we are so tired of walking to school and so tired. of god sort of knowledge of non-communication completely ability to have emotions to have relationships august 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 created her first feature film in two thousand and nine. this story of fall
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completely different women wishing to escape their lives. people. what. woman without then was based on a great novel and that's a greatest novel written by one of the most important iranian women writers who have lived in exile. and you know i have often written poetry and my
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work and my photographs by master poets that i want. i somehow look up to woman particularly women that come from they oppressed the societies yet quite empowered by things to hear some of the shanta guns diminished and eventually yeah and if all goes well indexer young founded on economic invention front men i mean i don't condone. god it used to your mind then you've just a few me then do me and my nephrologist that fleeting const i'm happy just based on the fraudster i. established as a base of i know that. he was the dog and now if that was the state. it did that's just me i was. women without men is her most political film guess. she wasn't able to shoot in iran the film won
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a silver line at the two thousand and nine bennis film festival. are you a feminist artiste this question has been as for me a lot and i was i asked my ideas do you think i'm a feminist they all said yes so gave using other feathers that no problem i'm extremely interested in. in women in the way that. their lives no matter which country what culture they come from and that it's always does the reality of the soon be fragile and vulnerable and yet extremely strong and defying . the latest film is dedicated to the egyptian singer quote fool a tribute to the icon of the arab world. oh. i learned. during their satellites to take a gamble. the. german
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choreographer's russia votes 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. is for them to 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 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.
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just moving the brim of it has never really cared much about what others thought of her oh public image is again she has the will to be different to be happy to be low in her own way. if you look at the funny performance fashion of the of the performance artists it was naked ugly bloke order to white this is it with any other thing to wear and lipstick and nail polish you know fashion was totally disregard it's like a family tree like something that is ridiculous that is like you know it's just you know kind of completely. idea that artists don't want to be like a kind of a bond and miserable i want to feel. and this and this really works with the with the sun with the you know just for just about fashion is about doing meditation with the retreats i'm going to wear you away the place is
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a media i have the all system of actually how i work with my body my work a splendid doesn't twenty i don't space to breed for the shows 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 of self . in the more recent where the artist has been tackling more and sickening issues like death. and you are really are you. you know that you know that you're going to the last part of your life and duty have to really concentrate on most important things and i decide to be happy this is my main you know kind of kind of this. this isn't about that in
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seventy five god. but. i will say some more by buys some more things i think by by lisa's getting along which would be they also already say bye bye happiness bye bye suffering bye bye. intensity i actually will bring back a moment 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. and 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've come to an end of that chapter in my stories make concepts
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my characters are changing what remains constant is myself. for me it's useless for me 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. evan old luggage tell me things communes bookings or quote are just so i can go through this isn't true this is why it's so good if we're all screwed them i didn't put myself in any of all.
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this. cut.
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the laser at full speed. always shining. above but always on the mock moment today and in the future. than thirty minutes to dublin. sam.
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slick. carefully. soon. to be a good. match. discovered . the body. subscribe to the documentary on you tube. i think it's everything channing first on how to make a muslim. so much different culture between here and there challenging for him
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playing. to some of the seven year was worth it for me to come to germany. i got my license to work as a swimming instructor. narn two children conference described last of just. what's your story take part sheriff on info migrants dot net. what's the connection between bread flour and the european union dinos guild motto w correspondent and alan baker john stripes loose cannon line with the rules set by the. cots. staffing recipes for success strategy that made a difference. baking bread on d.w.
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