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tv   Sino Tv Early Evening News    October 22, 2010 5:00pm-6:00pm PST

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>> dw-tv -- at the heart of europe. captioned by the national captioning institute >> welcome to "journal." i am brian thomas in berlin. >> and i'm peter dolle with the business news. >> the french senate votes to raise the retirement age despite mass protests. >> german business confidence climbed to its highest level in three years. >> britain's newest, most expensive nuclear submarine had to be towed free after running aground in scotland. >> friend senators have defied mass strikes, riots, and fuel
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blockade and past president nicolas sarkozy's bill to raise the retirement age from 16 to 62. that vote took place just a short time -- from 60 to 62. that vote took place just a short time ago. the tax will have a final vote on wednesday. unions say the reforms penalize working people for the failures of been executives have called for new taxes on banks and the very wealthy. >> mounting process voiced are causing a stench. the rubbish collectors have been on strikes or days -- mounting waste is causing a stance. the rubbish collectors have been on strike for days. >> a protesting everything, especially retirement reform. >> president sarkozy's plan to
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increase the retirement age to 62 also caused riots here. the government ended the 10-day blockade on friday by force. transport in france has been severely disrupted by petrol shortages. despite the widespread chaos, many ordinary citizens sympathize with the protesters. >> i can put up with another week of this if it causes the government to think. >> in respective of friday's vote, the unions promised further strikes and protests. >> the senate may have a prose president sarkozy's reform, but the unions have vowed to -- may have approved president sarkozy is reform -- president sarkozy's reform, but the unions have vowed to continue protests. >> we have to see what happens this week. the holiday season -- autumn holidays.
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there are many signs that this probably will not happen. students called for another strike next tuesday, two days before the unions want to go out on the streets. many young people, as i can say, now said that president nicolas sarkozy is polarizing the society. they do not have a good chance in their future. it is not so well-seen by them. they say it is part of the problem, nicolas sarkozy, coming away from the students. one has to confess that according to opinion polls, 69% of the french people, 2/3 of the society are for the process. not all of them -- for the protests. not all of them are for blocking the petrol transport. it is a huge sign that the protests are far more -- going far more now than on the pension
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reform, they go far more, it is about nicolas sarkozy. >> that was frank kaufman speaking to us from paris earlier. german chancellor merkel says that there will be joining a summit in lisbon, but have dismissed rumors that nato wold seek -- next month's summit will map out a future strategy for nato. >> little members probably agree the new strategic direction should seek -- nato members agree that the strategic direction should seek cooperation with russia. the german chancellor does not envision a formal role for russia within nato itself. rick that it is a partnership. when we reach concrete agreements -- >> it is a partnership. when we reach concrete agreements, we should use common -- concrete projects to show
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we're working together. russia should take place -- take part in the muscle it -- russia should take part in the missile defense program for europe. regret we're faced with the real threat. we -- >> we are faced with a real threat. we need real defense to protect our pocket -- populations effectively. >> he attended a security conference with germany's opposition green party. in contrast to the chancellor, they're in favor of russia joining the alliance. >> i nato should offer russia talks on whether it wants to become an nadal member. -- i think nato should offer russia talks on whether it wants to become a nato member. >> they will discuss this in lisbon next month. >> of british nuclear-powered submarine that ran aground off the coast of scotland has been towed free. hms astute was undergoing sea
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trials. it is the first of a new class of nuclear-powered sub is going into service. does not carry nuclear weapons. officials say there was no risk of environmental damage from the incident. >> it is spending the night in deeper waters after being freed by two tugboats and the rising tide. the embarrassment to the british navy remains. the nuclear-powered sub was stock for several hours after running aground. the military did damage control, calling it a minor incident with no injuries and posing no environmental impact. the investigation is underway. military experts say the incident is anything but minor. >> it is quite an astonishing error to put the 7,000 ton submarine on some rocks. very serious. >> britain has ordered seven of the a suit -- astute-class
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submarines. >> prime minister silvio bird was phony has ordered a crisis meeting to end -- silvio or less tony -- silvio berlusconi has ordered a crisis meeting. 20 police were injured and one town has already won dump which local residents -- one dump which local residents has say has poisoned their community. they need to improve the conditions at the dump site. >> an outbreak of cholera is moving swiftly across haiti. with hospitals overwhelmed by the latest crisis, at least 140 people have died over the last 48 hours. 1500 more are extremely ill. most of the victims are earthquake survivors living north of the capital port-au- prince.
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the government is moving to contain the epidemic, the first outbreak of cholera in almost a century there. >> part brent -- heartbreak. the six have been brought by their relatives to be cured. -- sick have been brought by their relatives to be cured. for many, it is too late. hospitals have not seen this kind of crowd since the earthquake in january. cholera is a virtually unknown here.. >> there has not been an outbreak of cholera in about 100 years in haiti. people will probably not be very familiar with what to do in terms of both recognizing the symptoms and where to go for treatment, and also how to prevent its spread. there are big challenges. regret the outbreak is centered in our world part of haiti -- >> the outbreak is centered in our rural part -- a rural part of
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haiti. it is spread by consuming contaminated water. it is easily treated with rehydration salts. if not dealt with quickly, it causes severe dehydration. >> a lot of people are feeling very positive about the german economy and its prospects for the future. >> it is a very good picture indeed. the german economy seems to be defying the global economic boom. business confidence climbed in october to its highest level since may, 2007. it surprised many analysts who expected a decline. when institute said that the business index, it rose -- one institute said that the business index rose significantly. the german government raised its forecast for growth to 3.5% for the year. we spoke earlier with someone from the ifo institute and ask if there is anything looming
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that could dampen the good mood. >> the mood is better than analysts thought. i think that is a good signal. for example, exporters expect exports to go up more than in the last month. there was a decline in export expectation last month. now it is going up again. i think that is a good signal. of course, there are risks ahead. there are especially risks outside germany. if you think of the u.s. economy, it is not clear whether they can get around the second recession. in europe, there are many countries with great start for problems. >> in other news, europe's biggest car maker, volkswagen, tripled operating profit in the first nine months of the year. the global economic recovery power sales of vw's around the
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world. it posted an operating profit of $4.80 -- 4. billion euros from january to september, up from -- 4.8 billion euros from january to september, up significantly. the company said that it expected good numbers for the fourth quarter. probably not as strong as in the first nine months of the year. shares were among the most active in frankfurt today, helping boost the entire sector. our dw-tv correspondent has more. >> traders will be happy they did not make it an early weekend. close to the end of trade here in germany, volkswagen came out with that report. the profits were impressive when you listened to traders -- were impressive. when you listened to traders, the nine-month results were stronger than expected. it could not help the dax gain.
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it lost just lightly. it is up for the week. near the end of the week, a better business climate in october in germany could not help the dax sustained gains made during the day. people were low nervous because of the ongoing g-20 meetings -- q li55l3 nervous -- people were a little nervous because of the ongoing g-20 meetings in north korea. >> looking at the indices in more detail, staying in frankfurt, the blue-chip dax index is nearly unchanged. . stocks of the index -- the dj euro stoxx. the dow industrials ended nearly unchanged at 11032. the euro is trading at 1.39 u.s.
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leading economies are holding talks in south korea. it brought little movement on currency disputes, trade gaps, or imf reform. >> world trade is booming. exports are on the rise. economists are concerned. especially for countries that export more than they import. germany's foreign trade surplus last year reached 120 billion euros, 5% of the country's gdp. u.s. treasury secretary timothy geithner is calling for a ceiling of 4%. demand is targeted at export power presses like germany, china and japan. response was swift and negative. >> we need to talk about it first. numerical targets are not realistic. >> currency values are no other source of tension on the agenda at the summit. china has been criticized --
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currency values are another source of tension on the agenda at the summit. china has been criticized for keeping its currency artificially low. lee myung-bak wants everyone to work together to avoid currency war. >> i would like to say that we must find win-win ways for the implementation of the agreed framework. >> he also said that reforms of the imf should go ahead. last year's g-20 summit decided to give emerging economies more votes to iledge the shift in global economic dynamics -- to acknowledge the shift in global economic dynamics. >> angela merkel has held talks about the recent rescue of 33 chilean miners, calling it a victory for humanity. she told president pinera that they followed the rescue with bated breath. they signed agreements for
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closer economic and scientific cooperation. she praised the efforts to fight poverty. she meets with president christian -- pinera meets with president christian wulff before ending his tour. christian wulff has wrapped up his visit to turkey, describing it as "extremely positive." the trip came at a time of heated debate over the integration in germany's -- in germany with the muslim population. >> the byzantine cathedral, the structure later used as a mosque, and now as a museum and unique monument to culture. wulff appealed for cultural and religious tolerance, speaking out on sensitive topics like women's rights. he and his turkish counterpart took part in a groundbreaking ceremony for a german-turkish
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university being built in a istanbul. >> this university will be another key element in german- turkish corp.. it will add -- cooperation. it will boost our german-turkish friendship. >> turkey is banking on christian wulff. they hope that they will be supportive of the drive for european union membership. >> wayne rooney has signed a new five-year contract with manchester united. it is an abrupt u-turn. he just said he wanted to quit. he might have been swayed by a deal that is believed to double his salary to more than 200,000 euros per week. alex ferguson says he is delighted at the change of heart and urged the club to get behind him.
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more on the g-20 summit and the currency wars. stay with us here at dw-tv.
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>> welcome back. g-20 finance ministers and central bankers are meeting in south korea. there are increasing concerns that a growing number of government are involved in currency war, by giving their nation's money to make domestically-per most -- domestically-produced goods cheaper q5 hom3. -- at home. the yuan has been accused of being artificially low to promote -- to avoid higher unemployment among chinese citizens. >> president barack obama is reported to have put pressure on
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chinese premier wen jiabao over the currency issue. the u.s. treasury secretary is also showing no signs of holding fire. >> the chinese currency is significantly undervalued. it is also a unambiguously true that china is intervening, has been intervening aggressively to maintain that practice. >> could this be the beginning of a global currency war? the chinese central bank has done a lot over the past years to ensure the yuan remains cheap. it has paid to the currencies of that it cannot appreciate against the dollar -- pegged the currency so that it cannot appreciate against the dollar. that is good for chinese exports. the mood there is more sober in the united states. since the financial crisis hit, americans have been spending less. they realize that high levels of consumption finance high debt,
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which previously boosted global economic growth, are no longer sustainable. millions of jobs have disappeared. that continues to climb. -- debt continues to climb. the trade balance illustrates the problem. china traditionally has a large surplus. the u.s. and a large trade deficit last year. in comparison, eu member states stricken almost level balance of trade. the u.s. has begun printing more money. they want a cheaper dollar to improve the country's position as an exporter. that has not made enough of a difference. the house of representatives passed a bill that would expand the commerce department's power to slap tariffs on china for currency manipulation. >> the u.s. wants to export more, but they also want to put export restrictions on other countries like china. what does that have to do with
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the level balance of trade? >> the europeans are reluctant to join in the war of words. their only message for wen jiabao, a strong yuan is good for everyone. >> china and the united states are germany's biggest trading partners outside of europe. earlier this year, china overtook germany as the export champion of the world. the united states, despite the current financial crisis, remains the biggest economy in the world. our next report looks at the company near homburg -- hamburg, keeps a very close eye on the exchange rate, because 3/4 of its turnover depend on exports. >> many of his potential clients work in u.s. dollars, putting him at a disadvantage, as the current strength of the euro makes his product more expensive. if the euro appreciates further, the consequences could be significant.
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>> let's say the euro went to about you of $1 u.s. -- $1.50 u.s., it would become much more difficult to export to the u.s. and to other regions that use the dollar. >> that could lead to a slowdown in exports to countries outside europe. one company based in northern germany builds farm machinery used for mixing animal feed. the euro exchange rate is a constant source of stress for its c.e.o. his products like this are manufactured in germany. like all exporters, he has to factor the euro exchange rate into his business deals. >> any offers that we make normally have an additional charge, mainly for this reason. we need to have a decent offer to allow for currency fluctuations -- buffer to allow for currency fluctuations,
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otherwise we would have to change our press is constantly. -- prices constantly. >> the volatility of the exchange rate is a constant headache. the only way to guarantee financial success is by increasing productivity. >> it is a constant process. we try to increase productivity by more automation in manufacturing. that is a really important point. >> how are the order books looking despite the strong euro that makes the products more expensive overseas? >> we are pleased with the number of orders coming in. we have a lot of projects in development, too. >> the exchange rate is bearable for the moment. should the euros value continue to rise, a major drop off in
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orders can be expected. >> for some background, i spoke rear with -- earlier with a banker and asked whether we could be facing an all-out currency war or whether it was already taking place? >> i cannot see a currency war. what we're seeing is a certain degree of aggression in the market. we're sitting interventions by the bank of japan's. we see countries like brazil -- we're seeing intervention like the bank of japan's. we see countries like brazil moving. i would not call this a currency war. >> in your opinion, who was to blame for the current situation? >> in the first place, i want to blame the united states. and they have quantitative measures and these quantitative measures increase this --
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increase the supply of u.s. dollars, putting currencies like the brazilian reality under pressure -- real under pressure. secondly, i want to point out that china is not the currency manipulator is being called. china is really win the one -- revalue wing the yuan -- has been revaluing the yuan. china is doing its work. throughout the crisis, the global financial crisis, they did take over a lot of responsibility to stabilize the world economy and their own country. they do their job in order to grant a positive global environment. i want to also point out that, recently, we got numbers from the ifo institute, saying china would be the second-biggest export market for germany next
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year. that shows that germany can deal with the yuan rate. the u.s. has structural problems, including too little capital investment, which is why they are facing trade deficits with china. >> what needs to be done to have more realistic exchange rates and more transparent policies? >> with china, they will keep on revaluing with the pace of 4% to 5% per year. that will help. it is not an abrupt revaluation. we have the g-20, g-30 watching the big currency blocs, that there is no systemic risks emanating from any moves. that has not happened over the last three years. >> thank you very much. the international currency dispute is the focus of our "in depth" today as central bankers and financial ministers continue
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their meeting in south korea. thank you for joining us. stay with us if you can.
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>> hinojosa: through his provacative large-scale projections and public art, he gives voice to ordinary people and explores issues of conflict, healing, empowerment, and democracy-- internationally renowned conceptual artis krzysztof wodiczko. i'm maria hinojosa, this is one on one. captioned by media access group at wgbh krzysztof wodiczko, welcome to our show. most people are going to know your work. they might hear the name krzysztof wodiczko maybe, but when we say that the work that you have done as a conceptual artist is huge projections on buildings, then they'll say, "ah
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yes, i know krzysztof; i know krzysztof." why this idea of projecting-- making your art so public? what is it that you want to communicate? you want to make it free andcese message that you're trying to say to people is what with your work? >> well, since the late '80s, i'm employing in my work video that is motion and sound, and possibility of recording and editing and transmitting voices-- voice and gesture of a person, people. so from that time on, i would think that the reason is to turn those of whom we know nothing or who are hidden-- invisible--
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residents of our cities into projectors so they can project themselves on a large scale and open up to large number of people. and learn, taking advantage of this kind of project, how to find words and metaphors and expressions to convey often quite difficult experiences. >> hinojosa: but the fact that you're seeing people kind of talking themselves gives it... there's a rereal kind of authenticity about it, but you put people talking about themselves-- talking about very intimate, difficult moments in their lives for... we'll talk about the work here in boston in a minute, but i want to talk about what you did in tijuana in a project... there's a center there called the centro cultural... >> el centro cultural. >> hinojosa: ...and you did that
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very well, krzysztof. do you speak spanish? >> (laughing) no. >> hinojosa: a little after your time in tijuana? >> not yet. >> hinojosa: not yet. >> over the course of our conversation... >> hinojosa: maybe. >> ...i will absorb... >> hinojosa: a little. so what you did in this border city of tijuana is that you had the women workers who work in these factories that are usually making things that we end up buying... >> maquiladoras. >> hinojosa: maquiladoras. you had them talking about their work experience, their family experiences, and let's see for our audience if they can imagine a huge building with a face that's just as huge, and oftentimes crying. these women were crying; telling very sad stories about abuse and abuse in the workplace, abuse in their families. tell me a little bit about what that work... why that work was so important for you to do it in that way in tijuana. >> because i felt that for some of those women, it would be very important work for those who
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were brave enough and they calculated the risk to make themselves visible and recognizable on this scale. for example, one of them, after consulting family members, being uneasy about it, she decided that it's safer for her to be so visible rather than hiding, because she put her husband to prison for incest and he was about to leave the prison and according to her, was no doubt trying to kill her. so this is an extreme case, but there are many decisions of this sort that this project demands. this is sort of a self-selected
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group of people who are speaking on behalf of themselves and also who become agents who are speaking on behalf of others-- other women who cannot be part of this project at this moment. >> hinojosa: because your whole idea is that you want the voiceless-- victims in this particular case-- you want them to have a voice, but the way that you give them a voice is not that you just put a microphone in front of them and say, "speak." you are saying, "i want your whole city..." >> yes. >> hinojosa: " see this." >> but also it is not enough to give a microphone to the person. to have her opening up and sharing difficult experiences in a public space, it takes time. this project took almost a year
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of recording, rerecording discussions among those who were affiliated with the factoreques, the organization set up by actually the federal government to help maquiladora workers to learn their rights. but in fact, this organization and the place where they were meeting became an informal post-traumatic stress therapy group. >> hinojosa: were you there for a lot of those times? >> yes. it's not that they were conscious that that's what it is, but in fact, they brought up so many issues which the federal government doesn't even know or it's not prepared to help so they could help themselves, so that they took advantage of the opportunity of my service as a projectionist offering, because of my reputation, by
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insight, because of my position as a stranger, somebody whom they could call not "gringo" but "artista polaco." >> hinojosa: that's how i remember people talking about you, you see? because i was in tijuana around that time, and that's right. they were like, "un artista polaco," a polish artist. >> they choose to call me this way because it was easier for them to trust me, as artista polaco, rather than coming from the united states. >> hinojosa: so in a city like tijuana, where violence is a part of daily life, when you put these huge projections, and people are then seeing kind of much larger than life the reality of the drama, did you feel... and it's hard to kind of take a pulse of this, but was there a sense that this city
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healed a little bit because of this, because it was so kind of... because it was a conceptual art moment, and because it was so in everybody's face? >> it's hard to tell. everything that you do in a city, it takes time for the city to absorb and make sense of it as a larger population. but for those who offer a chunk of their life or their experience or time to speak through this facade, i think it was very meaningful. and so it's very important to understand what does it mean that eight or ten people are speaking through the building after one year of discussing it? it means that many of the members of the families and friends were part of the
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project, because they had to approve their participation. some of those people were in it in initial meetings, but they decided not to be part, but they're still part of a network. then there are social workers, without whom this project will not exist, who trust the project, and they're trusted by those people. and then there is an editing crew, and there's a projection crew, and there is... there are journalists, media people. so there is a kind of inner public that is growing from within the project. it is part of the city. >> right, because you opened this dialogue. >> right. so i think the project works from within that group to larger and larger rumors, gossips. then those people come to the site of projection or tests, even before the projection, and they form a kind of initial...
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not spectator group, but witnessness. >> well, i actually... >> ...protect those who truly are speaking, because they were also speaking the real time. >> hinojosa: so you as an artist, you make this commitment to give voice to the voiceless. >> there's an enormous amount of things that artists could do to be an inspiring force in creating conditions for others to communicate the most difficult things to those who might not be immediately ready to listen. >> hinojosa: do you feel like there are young artists who are out there who understand that they want to work in the same vein? but is there support for this kind of work? i mean, when you're basically
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challenging society and you're putting it like you do with your projections, front and center, how much support is there for that kind of critical public art in america? >> i think the first part of your question is there are young artists who really are interested in pursuing this path, maybe using different method than our generation has developed, learning and being maybe critical about we do, but definitely sticking to this kind of direction, horizon. many media artists, actually, are doing this, transmitting all this through contemporary media and opening up to others. in terms of support, i think we are in a better situation than we were several years ago. >> hinojosa: really?
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why? >> because of the shift of the policy of the united states government towards... >> and how does that impact... you mean that impacts in terms of funding, in terms of people... really? >> i feel that institutions such as art centers, museums, but also educational institutions, cultural centers, they have more confidence now that they will receive some funds from the government, if there are any. but even without direct government involvement, it will be easier to convince some boards of trustees or various groups who are financing or helping institutions to exist economically to maybe take more critical angle, at least once in a while. because before, it was more or less a culture of... a kind of
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political economy of silence. >> hinojosa: really? >> meaning conversations shifted to other areas to avoid topics. >> hinojosa: now, i find that interesting, because you grew up... well, you were born in poland, actually in the middle of the ghetto uprising, if i'm not mistaken. you then become a designer, a kind of technical designer, in communist poland. and you find a way of working with art in a situation where your society, at that time, was very, very, very closed. >> this is very easy to answer. it just might take a little longer. it's about my journey towards... and a search for democracy. for some people who grew up in undemocratic environments, when the level of unfreedom was pretty high, crossing the border
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there was the world that has constitutions and elections. it's usually an attempt to find democracy. where there was no democracy before, now people... a person like myself try to find it. and then i realized very quickly that democracy cannot be found. there's nothing to... >> hinojosa: there's no nirvana. >> if they took away democracy, then i thought someone would give it back. no. >> hinojosa: you were looking for the easy answer. >> i realized that democracy is something that has to be made. it is something that will never be fully achieved. it's a continuing process of chasing after this phantom of democracy. >> you also say you like the part of peace that is difficult. >> you cannot make peace being peaceful.
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>> hinojosa: you have to create a lot of angst, change. >> because peace for me has something to do with inclusion of many voices, and more of a democractic concept. because peace that is achieved at the expense of democracy is actually horrifying peace. in fact, i grew up in this kind of peace. >> hinojosa: in a kind of peace where supposedly everything is fine, and there's no kind of confrontation. >> it's about conflict and disagreement, which is a vital part of social life and human life, and without which there is no possibility of democracy. exercising first amendment, for example. so we truly are into making more and more of a complex and difficult space for ourselves rather than space completely
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deprived of any discourse. so that's a difficult project, between seeking peace, and peace from democracy, and trying to contribute to the democratic process towards a peace that is more connected with life. there is continuing a kind of inner dialogue, and maybe discussion. but i'm on the side of waking up and unnerving and opening up voices and bringing... inserting into the public space experiences that are relegated to the private realm to make public space in very... with every act of speech, and making a democratic moment in every act
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of projection. >> hinojosa: i love that-- making a democratic moment with every act of projection. one of the things that you did in boston was that you had people coming and talking about their experience with crime, being victims of crime. and it wasn't very long. it's not like... that's the thing about krzysztof's work. it's like sometimes it can be fleeting. you're not sure when you're going to suddenly see it. it might only be up for one or two days. but... or hours, even. i want to ask you a technical question, though, krzysztof. so how... do you look at a building as an artist and you're like, "i can see an entire body being projected on that building, and i can see that there's going to be a voice coming from the top of the building, and where the hands are," or do you have an idea of what you want people to say, and then you look for the building onto which you're going to project this? which comes... or is it you never know? >> it's a simultaneous process. i've been searching... first of
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all i had to learn about what are the silences of the city. what is it that is hidden that is not being expressed, not exchanged? and there could be different silences in different places. so as... this is the beginning. and then i try to find people from whom i can learn directly what they are-- potential co-artists in the project. then at the same time i look around and see, in the case of those projections, what symbolic historical structure is waiting there to actually be a kind of transmitting tower, transmitting facade, the witness, the momument that witnesses, has seen a lot. and in charlestown, people who are part of this organization called chalrestown after murder
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program. the women who lost... the mothers who lost their children to gun battles and executions, they were telling me... they actually are saying it to each other-- "what if monument could speak?" >> hinojosa: oh, my gosh. >> because the monument has seen so much. >> hinojosa: and that's exactly what you did, was that you made the monu >> i just simply... i would say simply responded to this hope that the monument should... the monument of course is more just than the made of stone obelisk that has seen all of those murders. it's also built in hope for democratic society. the cornerstone was placed by
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marquis de lafayette. it's a monument to the first revolutionary battle that was staged in hope to create a world with rights, and the right to life, liberty, pursuit of happiness. >> hinojosa: and one of the things that you focused on in your work, there are two groups of people who you have focused on in your work that are really, really fascinating. one of them is immigrants, immigrants without a voice, and the other one is the homeless. >> and veterans. >> hinojosa: and veterans. so let's talk a little bit about the work with immigrants. you have... >> they are called the alien staff. >> hinojosa: the alien staff. >> yes. >> hinojosa: which i remember when i first saw it i was like, "what is this?" it's essentially a staff that has... it's carrying... >> it's like a walking stick. >> hinojosa: it's a walking stick. >> it's got a certain symbolic power, like, that's why it's called staff. >> hinojosa: and it's got their
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memories, it's got their passport, it's got their papers? >> it has plexiglass containers in which you could see precious relices of immigrants that are witnesses to the whole history of this displacement, the documents, memorabilia. objects that they might only want... they don't want to explain to anybody, but they want to have them with them. and at the top, there is a video monitor and speaker, and also there is a device from which you could... that records testimonies. so this is speaking, speaking. >> hinojosa: i just love the notion of people kind of carrying their history with them. >> and by their history they're doubled, because those walking sticks speak. so they are... >> hinojosa: they're not only carrying the history, they're projecting the history.
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>> yes, so once all of this is recorded and edited, and then projects itself from the stick, the owner or the operator of this alien staff might become a mediator between the stick and the people who will approach and, out of curiosity, start listening. >> hinojosa: i want one of those alien staffs. but before we end-- we've just got about three minutes left-- i want you to talk about another fascinating project, this one about the homeless. again, you started your career as a designer, as kind of a technical designer of things. then you designed this amazing homeless... >> vehicle. >> hinojosa: ...vehicle that essentially allows the homeless person to sleep in this little vehicle that they can push, that's not a shopping cart that they have stolen from someplace. >> and collect all of the bottles and cans. >> hinojosa: so how many... what happened to the project? >> we sell them. >> hinojosa: and you did this project on the lower east side of new york city.
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what happened? are there homeless vehicles out there still, krzysztof? >> not right now. but it was a very important attempt to create conditions for those who have homes, homeful people, to imagine that there would be 100,000 homeless vehicle taking over the city, because that was the amount of homeless people at that time in new york city. so that's an impossible vision. so in a way it created perception of something that should not happen. >> hinojosa: right. you made the homeless... that's what you did, is that with this homeless vehicle that was really noticable, you made the homeless entirely visible to everyone. >> legitimate members of urban community who work day and night and use proper equipment for it. they are not scavengers. and also they can say something-- how it happened that they became homeless-- if they
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are asked. it's quite an important attempt actually not to legitimize the homelessness, but to articulate that this is a legitimate problem. >> hinojosa: krzysztof, it seems like what you do is you build these mechanisms, whether they're homeless vehicles or these projections, these instruments that kind of allow us to open up that dialogue. >> yeah. i'm creating something in between, an artifice that helps one party to open up and develop capacity to convey, express, very difficult experiences, even if this is an unsolicited act. and the other party to come closer, open ear without also fear of hearing what they hear, or seeing what they see. and so that is a very important process. of course, i start with those who have things to say of which
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people don't want to hear. so this is the beginning. they are the ones who have to start this process. but without special artifice, artistic and cultural project, such possibility is very hard... situation is very hard to achieve. >> hinojosa: so krzysztof, just in the last few seconds that we have left, what is the next big project that you want to leave? >> this is the project that i am still working on. it's hard for me to tell what it is. but definitely i would like to contribute to an understanding, a breaking the wall, between those who know what war is and those who don't. i'd like to continue working with war veterans, returning soldiers and their families, who are actually proper veterans as well. krzysztof wodiczko, thank you so much for your work, and please keep us informed. we want to know. >> i will definitely do so.
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thank you for inviting me. continue the conversation at
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