WEBVTT 00:00:00.419 --> 00:00:15.770 [POWER TOOLS BUZZING] 00:00:15.770 --> 00:00:18.701 It came to me like like a fairy tale. You know? 00:00:18.701 --> 00:00:22.782 A sculpture produced in 00:00:22.782 --> 00:00:24.301 the boat 00:00:24.301 --> 00:00:26.226 during the trip 00:00:28.519 --> 00:00:32.537 The fairy tale was, you know, this idea of a sculpture 00:00:33.737 --> 00:00:37.140 Somehow an art piece 00:00:38.617 --> 00:00:40.603 produced in this, 00:00:40.603 --> 00:00:42.701 in the middle of the ocean, you know? 00:00:42.701 --> 00:00:47.770 But, at the same time, this model coming from the west 00:00:47.770 --> 00:00:50.981 that goes to the east and then is coming back 00:00:50.981 --> 00:00:54.520 to the west in this travel 00:00:54.520 --> 00:01:00.382 but very close to this fairy tale thing 00:01:00.382 --> 00:01:03.269 It was the hardness of the reality 00:01:03.269 --> 00:01:05.685 the hardness of the work 00:01:05.685 --> 00:01:10.084 the, I mean, the way the work is exploited, you know? 00:01:11.023 --> 00:01:13.860 The logic of the profit that is behind that 00:01:15.014 --> 00:01:20.769 That was to create this coincidence between the time of transport and the time of production 00:01:20.769 --> 00:01:25.608 [JACKHAMMER POUNDING] 00:01:25.608 --> 00:01:27.529 In my work, you see a lot of people. 00:01:27.529 --> 00:01:30.590 You see a lot of faces, you see a lot of bodies 00:01:31.514 --> 00:01:35.528 and the stories are connected with these bodies 00:01:35.528 --> 00:01:38.568 with these--they are human experiences. 00:01:38.568 --> 00:01:41.368 In this piece it's a bit different 00:01:41.368 --> 00:01:44.731 You know, it's the story of the piece of marble 00:01:44.731 --> 00:01:46.786 It's the story of a stone 00:01:47.325 --> 00:01:52.656 Taken off from the mountain 00:01:53.610 --> 00:01:55.648 and then rolled down 00:01:55.648 --> 00:01:57.368 and then rolled to a boat 00:01:57.368 --> 00:02:01.250 and then, and then it start this trip 00:02:01.250 --> 00:02:03.728 and then it's transformed. 00:02:03.728 --> 00:02:06.288 Of course it makes it a bit more metaphorical 00:02:06.288 --> 00:02:13.968 But at the same time, even in this piece, in the video you see faces, you see bodies, you see human actions. 00:02:13.968 --> 00:02:20.688 It's about this piece of marble, but at the same time it's even about the human actions on it, you know? 00:02:20.688 --> 00:02:24.932 It's not about their personal stories. 00:02:24.932 --> 00:02:28.208 But it is about, even about their presence. 00:02:28.208 --> 00:02:30.783 You know, their presence is important. 00:02:32.168 --> 00:02:36.014 And their actions are, I mean, are important. 00:02:36.014 --> 00:02:38.248 And their--and what they-- 00:02:38.248 --> 00:02:41.650 actually, the column is what they produce 00:02:41.650 --> 00:02:47.608 so it's not being produced in a miraculous way somehow. 00:02:47.608 --> 00:02:52.208 [BOAT ENGINE CHUGGING] 00:02:52.208 --> 00:02:58.391 This transformation from, from something coming from nature 00:02:58.898 --> 00:03:02.768 that you detached from that, from its context 00:03:02.768 --> 00:03:03.851 and then 00:03:04.328 --> 00:03:08.976 through the action it becomes an expression of culture 00:03:08.976 --> 00:03:10.649 So it's from nature. 00:03:10.649 --> 00:03:13.404 From nature going towards culture. 00:03:13.928 --> 00:03:18.260 And what is getting and what is losing in this transformation. 00:03:19.168 --> 00:03:21.976 So of course, the column that we see now 00:03:21.976 --> 00:03:24.611 it's nicely done 00:03:24.611 --> 00:03:29.964 it's perfectly responding to a model. 00:03:29.964 --> 00:03:32.394 to a cultural model 00:03:32.394 --> 00:03:35.204 but at the same time it's losing something from 00:03:35.204 --> 00:03:41.249 from its roughness, or its natural aspect. 00:03:41.249 --> 00:03:45.392 [BOAT ENGINE CHUGGING] 00:03:45.392 --> 00:03:51.180 The film is ending with this boat and the ocean 00:03:51.180 --> 00:03:57.565 and you don't see even the column at the end because, you know, the roof of the boat is closed. 00:03:57.565 --> 00:04:00.609 So, the trip is still going on. 00:04:00.609 --> 00:04:01.892 It continues. 00:04:01.892 --> 00:04:04.248 It's continuing 00:04:04.248 --> 00:04:07.171 But then I wanted the sculpture to be here in Paris. 00:04:07.171 --> 00:04:17.448 To be here, like to, to consider the promise as a step of this trip. 00:04:17.448 --> 00:04:22.044 Europe was a destination for the column 00:04:22.044 --> 00:04:24.892 I wanted the column to be here. 00:04:24.892 --> 00:04:26.128 In Paris 00:04:26.128 --> 00:04:28.524 And we are here. 00:04:28.524 --> 00:04:32.371 In a place that we are surrounded by columns in Paris. 00:04:32.371 --> 00:04:35.059 Even just here the Plaza la Concordia 00:04:35.059 --> 00:04:38.649 you see a column in the middle and then around you see a lot of columns. 00:04:38.649 --> 00:04:41.869 The column is a very symbolic element. 00:04:42.331 --> 00:04:46.328 It's in general a symbolic element, even in the East and in the West. 00:04:46.328 --> 00:04:48.848 In the West we connect it with the temples 00:04:48.848 --> 00:04:52.961 You know? With the--we connect it with power. 00:04:53.392 --> 00:04:57.407 And it's erected, you know? It's vertical. 00:04:57.407 --> 00:04:59.607 The fact here, the column is lying down, you know? 00:04:59.607 --> 00:05:03.561 For the whole trip it's lying down and it's still-- 00:05:04.392 --> 00:05:07.568 I want to keep it this way, you know? 00:05:07.568 --> 00:05:13.059 So of course, it's a game somehow between the 00:05:13.059 --> 00:05:18.049 uh, the power and being impotent somehow, you know? 00:05:20.049 --> 00:05:21.727 And as you said, it's made in China. 00:05:21.727 --> 00:05:26.485 Ya know, when we see "Made in China" it has to do with something that is not authentic. 00:05:26.485 --> 00:05:31.285 So even the, the same idea of authenticity is questioned, you know? 00:05:31.285 --> 00:05:36.328 [RADIO PLAYING MUSIC IN CHINESE] 00:05:36.328 --> 00:05:43.208 The image has the power to tell, and to keep it open, that is the nice thing. 00:05:43.208 --> 00:05:44.768 The word is more defining. 00:05:44.768 --> 00:05:45.649 You know? 00:05:45.649 --> 00:05:50.636 When you give a name to something, you define it more. 00:05:50.636 --> 00:05:55.407 The image is saying something but its always a secret. 00:05:55.407 --> 00:06:00.608 [BOAT ENGINE CHUGGING] 00:06:00.608 --> 00:06:02.650 It's always about this process. 00:06:02.650 --> 00:06:08.450 It's about, being in this, continuous transformation and then 00:06:08.450 --> 00:06:11.288 things are becoming always something else. 00:06:11.288 --> 00:06:15.060 And in this process of becoming, if you manage to 00:06:15.060 --> 00:06:20.706 to get some, some signs of the truth that is moving 00:06:22.060 --> 00:06:24.649 That is the greatest thing. 00:06:24.649 --> 00:06:28.929 [BOAT ENGINE CHUGGING, HAMMERS STRIKING] 00:06:28.929 --> 00:06:31.568 [CRASH OF MARBLE]