1 00:00:33,784 --> 00:00:35,952 We had to trim this tree back. 2 00:00:36,078 --> 00:00:38,579 It was blocking all the light. 3 00:00:43,585 --> 00:00:48,089 I set out on a series of trips, filming here and there... 4 00:00:49,216 --> 00:00:52,301 faces and words, museums, rivers, and art. 5 00:00:59,685 --> 00:01:02,562 I listened to people I met -- sometimes by chance -- 6 00:01:02,813 --> 00:01:04,939 AGNÈS VARDA FROM HERE TO THERE 7 00:01:05,065 --> 00:01:07,316 especially artists whose work I like. 8 00:01:24,001 --> 00:01:26,043 When I returned from my first trip, 9 00:01:26,169 --> 00:01:28,421 the tree already had new shoots. 10 00:01:29,590 --> 00:01:32,925 I continued my travels, by train or plane, 11 00:01:33,051 --> 00:01:36,470 filming in every city, not to file a report, 12 00:01:36,597 --> 00:01:39,849 but to capture fragments, moments, people. 13 00:01:40,100 --> 00:01:42,101 The tree was coming back to life. 14 00:01:42,894 --> 00:01:45,438 I came and went... 15 00:01:45,564 --> 00:01:49,025 and Jean-Baptiste and I edited the material I'd gathered. 16 00:01:53,822 --> 00:01:57,491 But long before I completed my journeys and my work, 17 00:01:57,743 --> 00:01:59,994 which lasted well over a year, 18 00:02:00,120 --> 00:02:03,623 the tree, with new shoots and leaves, 19 00:02:03,957 --> 00:02:08,127 had grown back all its foliage in less than three months. 20 00:02:08,295 --> 00:02:11,631 You see the process here in under two minutes. 21 00:02:11,757 --> 00:02:15,593 And viewers will see these chronicles over several days. 22 00:02:16,303 --> 00:02:19,555 So this series shoots and leaves, so to speak. 23 00:02:22,309 --> 00:02:26,979 In this episode, we'll go to Basel, Köln/Cologne, Saint Petersburg. 24 00:02:27,147 --> 00:02:29,607 We'll meet filmmaker Alexander Sokurov 25 00:02:29,775 --> 00:02:34,487 and two great French artists, Boltanski and Messager. 26 00:02:36,740 --> 00:02:40,660 Everywhere I go, men seem to be trimming trees, 27 00:02:40,786 --> 00:02:42,828 and I enjoy filming that. 28 00:02:43,163 --> 00:02:46,749 Here are some Brazilian trimmers pruning amendoeiras. 29 00:02:48,877 --> 00:02:51,671 This is San Vicente Boulevard in Los Angeles. 30 00:02:52,255 --> 00:02:54,840 They're trimming coral trees. 31 00:03:02,015 --> 00:03:05,685 Here on Noirmoutier Island, it's dark cypress. 32 00:03:20,117 --> 00:03:22,368 In Amsterdam, a surprise. 33 00:03:22,536 --> 00:03:24,453 On a thick tree branch, 34 00:03:25,038 --> 00:03:28,290 a miniature tree trimmer is frozen mid-action. 35 00:03:30,043 --> 00:03:31,836 But I'm on the move. 36 00:03:31,962 --> 00:03:35,047 I'm heading to the Basel Art Fair. 37 00:03:40,303 --> 00:03:42,388 Art is unlimited. 38 00:03:43,515 --> 00:03:44,932 Art is a party. 39 00:03:45,225 --> 00:03:47,143 Art is a fair. 40 00:03:50,897 --> 00:03:53,190 Among hundreds of works 41 00:03:53,358 --> 00:03:56,694 is this stone structure shaped like an igloo. 42 00:03:56,903 --> 00:03:59,447 And another, medieval in feel. 43 00:04:00,574 --> 00:04:04,577 These igloos were created by Mario Merz. 44 00:04:04,745 --> 00:04:07,371 Nests, uninhabitable huts, 45 00:04:07,497 --> 00:04:10,916 shelters made of stone, wood, and branches. 46 00:04:11,543 --> 00:04:13,419 Arte Povera. 47 00:04:13,587 --> 00:04:16,922 Imaginary matrices for nomadic souls... 48 00:04:17,257 --> 00:04:19,258 igloos made of dreams... 49 00:04:19,468 --> 00:04:21,594 or prehistoric life. 50 00:04:22,846 --> 00:04:26,056 I'm sure this piece 51 00:04:26,725 --> 00:04:29,059 is very important for Mario Merz. 52 00:04:29,770 --> 00:04:36,275 I've never seen an igloo I liked as much as this one. 53 00:04:37,277 --> 00:04:40,946 Swiss art dealer Elsbeth Bisig is speaking with us. 54 00:04:41,364 --> 00:04:46,577 We contacted him to do an exposition at our home. 55 00:04:46,787 --> 00:04:49,955 We bought this igloo. 56 00:04:50,373 --> 00:04:53,125 We kept it in our garden, 57 00:04:53,251 --> 00:04:57,463 which belongs to both our private home and the gallery. 58 00:04:58,924 --> 00:05:02,301 We lived with the igloo for 18 years. 59 00:05:03,678 --> 00:05:07,431 Sadly -- very sadly -- we sold it. 60 00:05:07,599 --> 00:05:11,227 But that's the life of an art dealer. 61 00:05:11,394 --> 00:05:14,563 You have to sell things. 62 00:05:14,898 --> 00:05:19,193 I imagine it sold for a high price. Over a million euros? 63 00:05:19,486 --> 00:05:21,654 A bit over, yes. 64 00:05:23,365 --> 00:05:26,659 Was meeting Mario Merz important for you? 65 00:05:33,875 --> 00:05:37,211 How do you say "unforgettable" in French? 66 00:05:37,337 --> 00:05:38,879 Inoubliable. 67 00:05:42,425 --> 00:05:46,178 I thought back to the art dealer's subtle contradictions 68 00:05:46,429 --> 00:05:50,683 from the balcony of my hotel room overlooking the Rhine. 69 00:05:52,602 --> 00:05:55,646 The Rhine... river of legend! 70 00:05:56,523 --> 00:05:57,940 Ah Wagner! 71 00:05:58,191 --> 00:06:00,150 Das Rheingold. 72 00:06:02,195 --> 00:06:03,863 The Rhinemaidens. 73 00:06:10,370 --> 00:06:14,206 The same Rhine runs north and cuts through Köln (Cologne). 74 00:06:16,167 --> 00:06:19,461 I arrive not by boat but by car. 75 00:06:25,093 --> 00:06:28,721 The cathedral, visible from afar, appears in many guises. 76 00:06:42,152 --> 00:06:43,903 All together. 77 00:06:52,412 --> 00:06:54,163 Even pasta. 78 00:06:58,668 --> 00:07:03,589 Delicious with a bit of grated North Rhine-Westphalia cheese. 79 00:07:04,466 --> 00:07:07,843 - Want some water? - Yes, but from the tap. 80 00:07:08,303 --> 00:07:11,263 - Why? - It's "eau de Cologne"! 81 00:07:13,934 --> 00:07:17,561 Unscented "eau de Cologne" gushes in a park... 82 00:07:18,355 --> 00:07:21,231 while the sweet-smelling kind 83 00:07:21,358 --> 00:07:24,443 trickles from a closed-circuit fountain in town. 84 00:07:26,613 --> 00:07:30,115 Our grandmothers and mothers loved the smell and the bottles. 85 00:07:30,325 --> 00:07:33,285 Some folks still do, myself included. 86 00:07:34,287 --> 00:07:38,290 Listen... the perfumer's clock chimes "La Marseillaise." 87 00:07:41,920 --> 00:07:43,629 A bit further along... 88 00:07:44,381 --> 00:07:47,925 another company claims to have invented the famous water... 89 00:07:49,302 --> 00:07:51,470 whose name is always in French. 90 00:07:53,473 --> 00:07:57,601 French was spoken throughout Europe at the time. 91 00:07:57,727 --> 00:08:00,980 And Farina had a specific reason for choosing the name. 92 00:08:02,399 --> 00:08:05,985 He was a new German citizen of Italian origin 93 00:08:06,111 --> 00:08:08,821 and wanted to honor his new hometown, Cologne, 94 00:08:08,989 --> 00:08:11,657 so he named his perfume after it: 95 00:08:12,033 --> 00:08:13,701 "eau de Cologne." 96 00:08:16,454 --> 00:08:20,541 The last Farina by marriage talks to us about smells. 97 00:08:23,086 --> 00:08:25,212 The smell of potatoes. 98 00:08:26,297 --> 00:08:30,634 First, the smell of potatoes growing in the ground. 99 00:08:31,302 --> 00:08:33,762 Why is she talking about potatoes? 100 00:08:34,014 --> 00:08:37,933 The smell of cooked potatoes, of cold potatoes. 101 00:08:39,019 --> 00:08:41,228 Coincidence? Or does she know 102 00:08:41,354 --> 00:08:44,648 that in a nearby orangery, I'm showing images 103 00:08:44,774 --> 00:08:48,360 of wrinkled, shrunken old potatoes with new sprouts? 104 00:09:00,040 --> 00:09:03,000 We also set up the triptych Patatutopia. 105 00:09:04,210 --> 00:09:05,919 We waited for nightfall 106 00:09:06,046 --> 00:09:08,380 to welcome the public. 107 00:09:21,561 --> 00:09:23,353 In this lonely, icy park... 108 00:09:24,355 --> 00:09:27,066 I'm meeting a man to smash his face. 109 00:09:29,027 --> 00:09:30,569 We break the "ice." 110 00:09:33,531 --> 00:09:36,492 Now we put it back together. 111 00:09:36,618 --> 00:09:38,410 He played along. 112 00:09:39,704 --> 00:09:42,414 I try shooting over his shoulder... 113 00:09:42,999 --> 00:09:44,917 then from the side. 114 00:09:45,251 --> 00:09:47,002 Upside-down works best. 115 00:09:47,378 --> 00:09:48,754 He's very patient. 116 00:09:49,923 --> 00:09:52,174 I acquire his shattered portrait. 117 00:09:55,428 --> 00:09:57,846 We hear The Cat's Fugue by Scarlatti... 118 00:09:58,389 --> 00:10:00,432 and we see my cats. 119 00:10:03,728 --> 00:10:08,065 And we do it again with a plaster cast of The Unknown Woman of the Seine. 120 00:10:18,118 --> 00:10:21,370 Here is a trio from the series Shattered Portraits. 121 00:10:26,459 --> 00:10:29,336 At the Ludwig Museum, the great classics: 122 00:10:31,589 --> 00:10:34,633 Fernand Leger, whose style I adore... 123 00:10:35,051 --> 00:10:38,095 and a stabile by the wonderful Calder. 124 00:10:38,972 --> 00:10:43,350 Herr Koenig takes Wilfried, my friend from Cologne, and me 125 00:10:43,518 --> 00:10:45,519 on a tour of surprises. 126 00:10:47,188 --> 00:10:49,815 Isa Genzken imagines children filming. 127 00:10:49,983 --> 00:10:52,651 A real caricature of a film shoot! 128 00:10:53,069 --> 00:10:55,779 The director, intently focused. 129 00:10:58,616 --> 00:11:01,326 The script supervisor, attentively taking notes. 130 00:11:06,583 --> 00:11:08,125 Makeup. 131 00:11:12,338 --> 00:11:14,047 Sets and costumes. 132 00:11:14,674 --> 00:11:16,425 Places... action! 133 00:11:18,303 --> 00:11:19,678 Cut! 134 00:11:21,514 --> 00:11:25,726 I discover the work of Turkish videographer Kutlug Ataman. 135 00:11:26,102 --> 00:11:28,604 Two series of interviews are running. 136 00:11:29,272 --> 00:11:31,315 In the first, called Paradise... 137 00:11:31,524 --> 00:11:35,319 a group of people in California pursue their collective happiness 138 00:11:35,445 --> 00:11:37,779 in their own little bubble. 139 00:11:38,031 --> 00:11:40,449 A silent cacophony on alluring screens. 140 00:11:41,534 --> 00:11:45,495 You have to put on headphones. There's one set per screen. 141 00:12:07,727 --> 00:12:10,854 Downstairs, Ataman's other installation, Küba, 142 00:12:11,064 --> 00:12:14,066 was shot in a poor suburb of Istanbul. 143 00:12:14,275 --> 00:12:17,402 A diverse assortment of people on the fringes. 144 00:12:21,491 --> 00:12:24,576 A cacophony of personal stories. You have to get close. 145 00:12:38,716 --> 00:12:41,843 Soundings is an interactive piece by Rauschenberg 146 00:12:42,011 --> 00:12:44,346 that gets Julia hopping. 147 00:12:47,225 --> 00:12:49,810 A piece by George Segal attracts my attention. 148 00:12:50,395 --> 00:12:52,271 Two solitary figures. 149 00:12:55,692 --> 00:12:58,610 Another piece by Segal was important in my life: 150 00:12:58,736 --> 00:13:00,821 Alice Listening to Her Poetry and Music. 151 00:13:02,490 --> 00:13:06,451 I didn't know how to film my distress when Jacques died, 152 00:13:06,703 --> 00:13:09,871 so I wrapped myself in white, like plaster... 153 00:13:11,291 --> 00:13:13,208 and imitated Alice. 154 00:13:13,584 --> 00:13:16,503 I listened to music the two of us had loved. 155 00:13:21,884 --> 00:13:25,470 Artists invent ways for us to express our emotions. 156 00:13:32,979 --> 00:13:35,314 At the Alliance Francaise, 157 00:13:35,481 --> 00:13:38,734 my film Beaches is shown, followed by discussion, 158 00:13:39,402 --> 00:13:41,862 and I exhibit several photographs. 159 00:13:41,988 --> 00:13:43,947 Filmmakers from the '60s. 160 00:13:44,741 --> 00:13:46,408 Demy... 161 00:13:47,160 --> 00:13:48,827 Visconti... 162 00:13:49,412 --> 00:13:51,330 Fellini. 163 00:13:54,083 --> 00:13:57,127 And Anouk "Lola" Aimee. 164 00:13:58,546 --> 00:14:01,673 My self-portrait is projected on the window. 165 00:14:02,300 --> 00:14:04,718 You can see it outside at night. 166 00:14:09,307 --> 00:14:12,184 I took it at the Accademia Museum in Venice, 167 00:14:12,352 --> 00:14:14,686 before a painting by Jacopo Bellini. 168 00:14:15,355 --> 00:14:18,023 At bottom right... 169 00:14:18,816 --> 00:14:21,360 somber members of La Scuola. 170 00:14:21,944 --> 00:14:25,739 I decided to stand among them and strike the pose. 171 00:14:28,868 --> 00:14:30,952 I relax in the plane. 172 00:14:32,872 --> 00:14:34,790 I arrive in Saint Petersburg. 173 00:14:35,333 --> 00:14:37,542 I knew the city as Leningrad... 174 00:14:38,002 --> 00:14:43,048 and in the taxi it's as if they want me to remember that era. 175 00:14:43,549 --> 00:14:45,550 And in my room... 176 00:14:45,843 --> 00:14:49,805 the moment I turn on the TV, Soviet history unfolds. 177 00:15:00,066 --> 00:15:02,192 I've been given flowers, 178 00:15:02,318 --> 00:15:05,153 a bag with the bridge over the Neva, 179 00:15:05,488 --> 00:15:07,823 and some wintry postcards. 180 00:15:07,949 --> 00:15:10,992 But it's so hot! It's a heat wave! 181 00:15:11,661 --> 00:15:15,705 First interview, near the coatracks at the Maison du Cinema. 182 00:15:17,708 --> 00:15:21,086 The questions are long, but I enjoy listening to Russian. 183 00:15:25,758 --> 00:15:29,594 They translate what I often say about making documentaries. 184 00:15:31,222 --> 00:15:33,515 Quick, stamps for my postcards! 185 00:15:34,225 --> 00:15:37,102 I meet with Mikhail Trofimenkov... 186 00:15:37,520 --> 00:15:39,938 friend and film critic. 187 00:15:42,442 --> 00:15:44,776 The newspaper sent a photographer. 188 00:15:45,945 --> 00:15:48,864 He has a dreamy-eyed look. I take his picture. 189 00:15:56,456 --> 00:15:59,374 The other journalists all want to pose with me. 190 00:15:59,625 --> 00:16:02,961 The youngest, as well as the tallest, Kirill Artemenko, 191 00:16:03,129 --> 00:16:06,256 writes for the biggest paper, Izvestia. 192 00:16:06,549 --> 00:16:08,633 He asked great questions. 193 00:16:10,636 --> 00:16:13,930 My translator, Mikhail Kurtov -- Misha for short -- 194 00:16:14,056 --> 00:16:16,224 is writing his thesis on film. 195 00:16:16,350 --> 00:16:18,351 Like many students, 196 00:16:18,478 --> 00:16:20,937 he likes the films of Bresson, Tarkovsky, 197 00:16:21,105 --> 00:16:23,648 Weerasethakul, Godard. 198 00:16:23,900 --> 00:16:28,320 And mine too, he says. He saw them for free on a website. 199 00:16:29,822 --> 00:16:32,324 He introduces me to porters at the station. 200 00:16:32,825 --> 00:16:35,202 They all have college degrees. 201 00:16:36,662 --> 00:16:39,164 Popov, my driver, is a history professor, 202 00:16:39,665 --> 00:16:42,334 knows everything about the city and the czars. 203 00:16:42,627 --> 00:16:45,337 As I said, I enjoy listening to Russian. 204 00:16:57,016 --> 00:16:59,684 We learn there were six Ivans... 205 00:17:00,686 --> 00:17:03,355 including Ivan the Terrible, no doubt. 206 00:17:04,649 --> 00:17:09,444 As I look around, I realize I know nothing of the new Russia. 207 00:17:09,570 --> 00:17:11,696 It has changed radically. 208 00:17:16,536 --> 00:17:18,370 Like everywhere I go, 209 00:17:18,663 --> 00:17:22,082 when I look at buildings and apartment windows, 210 00:17:22,542 --> 00:17:26,419 I realize there are thousands of people I know nothing about, 211 00:17:26,546 --> 00:17:28,922 each with his or her own life. 212 00:17:36,722 --> 00:17:38,932 As in the past, there are poor suburbs 213 00:17:39,058 --> 00:17:41,226 where people, mostly women, 214 00:17:41,394 --> 00:17:44,521 sell odds and ends on the sidewalk. 215 00:17:55,116 --> 00:17:56,992 This means "antique shop"... 216 00:17:57,577 --> 00:17:59,661 and this means "restaurant." 217 00:18:00,162 --> 00:18:02,664 I remember being here with Jacques, 218 00:18:02,790 --> 00:18:05,667 looking for a "pectopah." 219 00:18:06,419 --> 00:18:08,336 No surprise: blini... 220 00:18:08,504 --> 00:18:10,255 and Macedonian salad. 221 00:18:14,927 --> 00:18:18,763 The Teplo restaurant has nice menus with two kinds of reading. 222 00:18:22,018 --> 00:18:24,394 We understand nothing of the food... 223 00:18:25,104 --> 00:18:29,774 but the photos of family and friends require no translation. 224 00:18:35,698 --> 00:18:39,951 The same goes for people relaxing on a park bench. 225 00:18:46,709 --> 00:18:49,794 Not far in the distance, 226 00:18:50,254 --> 00:18:54,132 just across the Neva, is the famous Hermitage Museum. 227 00:18:56,093 --> 00:18:59,220 Natalia Brodskaia is head curator. 228 00:18:59,388 --> 00:19:02,098 She welcomes us and serves as our guide. 229 00:19:04,852 --> 00:19:07,854 I began my life in French art 230 00:19:07,980 --> 00:19:10,482 with the work of Felix Vallotton. 231 00:19:14,445 --> 00:19:17,155 A hall with superb works by Matisse... 232 00:19:18,783 --> 00:19:21,326 purchased when the painter was young. 233 00:19:29,669 --> 00:19:33,129 Wool slippers are required for women in high heels. 234 00:19:37,343 --> 00:19:40,679 Thousands of visitors circulate in guided clusters. 235 00:19:49,355 --> 00:19:53,108 No one stops at this masterpiece. How can that be? 236 00:19:53,359 --> 00:19:55,193 That's how the groups work. 237 00:19:55,361 --> 00:19:57,779 The guide decides what they see. 238 00:19:57,947 --> 00:19:59,572 She'll say, for example... 239 00:19:59,699 --> 00:20:02,742 "Let's go see the Leonardo da Vinci." 240 00:20:02,910 --> 00:20:05,203 And the group walks and walks, 241 00:20:05,329 --> 00:20:08,623 not looking at anything that they pass by. 242 00:20:10,209 --> 00:20:13,586 Saint Luke Drawing the Virgin by Van der Weyden. 243 00:20:13,713 --> 00:20:15,630 There are several other versions. 244 00:20:15,756 --> 00:20:18,383 Experts who have studied 245 00:20:18,509 --> 00:20:22,011 all the paintings featuring the same composition 246 00:20:22,138 --> 00:20:24,723 say this one is the first. 247 00:20:25,057 --> 00:20:27,058 You must be proud. 248 00:20:27,184 --> 00:20:29,561 I'm very proud. 249 00:20:32,231 --> 00:20:35,775 There's too much to see. We do like the guides do. 250 00:20:35,901 --> 00:20:38,570 I choose several paintings and off we go. 251 00:20:39,196 --> 00:20:40,989 Titian's Danaë. 252 00:20:43,033 --> 00:20:46,870 Danaë's father had locked her up, but Zeus wanted her. 253 00:20:47,830 --> 00:20:51,332 So he turned himself into a shower of gold 254 00:20:51,751 --> 00:20:54,878 and impregnated Danaë without her knowing, 255 00:20:55,004 --> 00:20:57,380 and she gave birth to Perseus. 256 00:20:59,508 --> 00:21:03,470 Several hundred people later, we come to Rembrandt's Danaë. 257 00:21:06,766 --> 00:21:11,019 Here, the intrusion of light symbolizes Zeus's rape. 258 00:21:12,313 --> 00:21:17,609 In 1985, someone came to the Hermitage. 259 00:21:18,569 --> 00:21:20,612 He asked the guide... 260 00:21:20,738 --> 00:21:23,281 "Which is the best painting in this hall?" 261 00:21:23,616 --> 00:21:26,284 She said, "Our Danaë, of course." 262 00:21:26,952 --> 00:21:29,370 He then proceeded to spray the painting 263 00:21:29,497 --> 00:21:32,040 with a mixture of acids. 264 00:21:32,208 --> 00:21:34,042 It was horrific. 265 00:21:34,210 --> 00:21:36,544 The painting suffered terribly. 266 00:21:36,670 --> 00:21:39,130 It took 15 years to restore it. 267 00:21:41,634 --> 00:21:43,968 Only specialists can see 268 00:21:44,094 --> 00:21:47,180 the slight difference since the restoration... 269 00:21:48,015 --> 00:21:51,059 where the veil covers Danaë's ankle. 270 00:21:55,898 --> 00:22:01,319 This painting and I have a secret. 271 00:22:01,487 --> 00:22:04,656 The same painting played a role in a film. 272 00:22:04,824 --> 00:22:06,282 Really? 273 00:22:06,742 --> 00:22:08,743 Now it's over. 274 00:22:09,870 --> 00:22:12,080 It's over, gentlemen. 275 00:22:12,206 --> 00:22:13,915 Good-bye. 276 00:22:15,459 --> 00:22:17,669 Where are you going, madame? 277 00:22:17,878 --> 00:22:22,257 The film is Sokurov's Russian Ark, shot entirely in the Hermitage. 278 00:22:22,758 --> 00:22:24,884 She was offended. She left. 279 00:22:26,887 --> 00:22:29,305 It's sacrilege to show just a clip, 280 00:22:29,431 --> 00:22:32,267 for the whole film is one continuous shot, 281 00:22:32,393 --> 00:22:35,770 filmed in one day, December 23, 2001 . 282 00:22:37,064 --> 00:22:39,983 Regards. 283 00:22:42,027 --> 00:22:45,071 I got a chance to compliment Sokurov in Paris, 284 00:22:45,281 --> 00:22:47,282 in the midst of a great racket. 285 00:22:50,828 --> 00:22:52,537 It was so difficult. 286 00:22:57,418 --> 00:23:00,503 For that reason, it's hard to speak of compliments. 287 00:23:02,047 --> 00:23:05,633 You can't make something like that by accident. 288 00:23:05,759 --> 00:23:09,345 I'm not suggesting it was an accident. 289 00:23:09,471 --> 00:23:12,390 It had all the precision of a space voyage. 290 00:23:15,352 --> 00:23:17,645 "Da, da," replies the Russian artist. 291 00:23:17,813 --> 00:23:20,148 Meaning "Yes, yes." 292 00:23:21,817 --> 00:23:24,235 This gallery is devoted to Canova. 293 00:23:24,820 --> 00:23:27,906 This is where the Marquis de Custine walked. 294 00:23:28,741 --> 00:23:30,825 I follow in his footsteps. 295 00:23:33,954 --> 00:23:35,538 Canova! 296 00:23:35,664 --> 00:23:39,500 What a sublime approach to art! 297 00:23:39,710 --> 00:23:42,170 What feeling for the material! 298 00:23:42,796 --> 00:23:44,923 How wonderful! 299 00:23:45,132 --> 00:23:50,553 He is the true heir to the masters of antiquity! 300 00:23:59,521 --> 00:24:01,105 During the film... 301 00:24:01,982 --> 00:24:05,568 the whole history of Russia is told. 302 00:24:13,661 --> 00:24:16,454 Outside there's salsa dancing by the Neva. 303 00:24:34,390 --> 00:24:38,267 We'd been told about a place in an old textile factory. 304 00:24:40,104 --> 00:24:44,107 But truly wonderful surprises awaited on the top floor. 305 00:24:44,233 --> 00:24:47,318 Edward de Lumley of the Alliance Francaise greets us. 306 00:24:49,697 --> 00:24:52,824 An exhaust fan is kicking up a racket. 307 00:24:53,325 --> 00:24:57,120 He says his grandfather was born in Saint Petersburg. 308 00:24:58,038 --> 00:25:00,832 Living here means a lot to him personally. 309 00:25:03,836 --> 00:25:05,586 He shows us a mural, 310 00:25:06,171 --> 00:25:08,673 sculptures by Piotr Bely, 311 00:25:09,008 --> 00:25:12,343 and others by the group "P Professors." 312 00:25:13,804 --> 00:25:17,765 I notice an enchanting spontaneous installation. 313 00:25:19,560 --> 00:25:23,312 Visitors are invited to look at the facing building. 314 00:25:23,814 --> 00:25:26,315 And they do, for a moment. 315 00:25:34,074 --> 00:25:36,909 This place, the Etagi Loft Project, 316 00:25:37,036 --> 00:25:39,996 in operation for 2 1/2 years now, 317 00:25:40,122 --> 00:25:42,206 is today attracting 318 00:25:42,374 --> 00:25:45,293 young people and others seeking 319 00:25:45,502 --> 00:25:47,879 an alternative to the large museums, 320 00:25:48,047 --> 00:25:50,214 seeking contemporary art. 321 00:25:51,216 --> 00:25:54,802 Twenty videos from the Paris Museum of Modern Art are exhibited. 322 00:25:59,725 --> 00:26:02,393 Yes, it's Ange Leccia... 323 00:26:03,228 --> 00:26:07,273 and his silent, magnificent vision of the sea. 324 00:26:21,747 --> 00:26:25,917 Douglas Gordon and Parreno with their film Zidane. 325 00:26:28,837 --> 00:26:30,505 Zidane the soccer player. 326 00:26:30,964 --> 00:26:32,590 Sixty is a good age... 327 00:26:32,800 --> 00:26:37,011 This is Marathon Man, by Julien Discrit. 328 00:26:39,264 --> 00:26:41,307 He tells the story of a man in a single run. 329 00:26:41,433 --> 00:26:43,726 The important thing is to keep a childlike vision. 330 00:26:43,936 --> 00:26:44,977 He's the runner. 331 00:26:45,104 --> 00:26:47,063 At least in certain ways. 332 00:26:51,485 --> 00:26:53,820 Mother, Father and I... 333 00:26:53,946 --> 00:26:56,864 the story of Zineb Sedira's parents. 334 00:26:58,117 --> 00:26:59,867 Zineb listens. 335 00:26:59,993 --> 00:27:02,745 She hears History with a capital H. 336 00:27:09,128 --> 00:27:11,295 Round Eyes by Ariane Michel... 337 00:27:11,630 --> 00:27:15,216 featuring an owl who frequents the Place de la Concorde. 338 00:27:25,644 --> 00:27:28,688 This is a self-morphing video portrait. 339 00:27:35,028 --> 00:27:38,447 It takes a while to get from Boltanski, Christian, 340 00:27:38,699 --> 00:27:41,450 to little Christian Boltanski. 341 00:27:46,081 --> 00:27:48,791 It's Kantor's notion that we all carry 342 00:27:48,917 --> 00:27:53,004 a dead child inside us, ourself as a child. 343 00:27:53,172 --> 00:27:57,508 The first to die is our child self, and we keep it within. 344 00:27:57,676 --> 00:28:01,429 We all have a child corpse that comes back from time to time. 345 00:28:01,930 --> 00:28:03,598 So he says. 346 00:28:04,516 --> 00:28:08,102 Over this sunny lunch with Annette Messager 347 00:28:08,312 --> 00:28:09,520 in my courtyard, 348 00:28:10,063 --> 00:28:14,609 my mind wanders to the children in the museum in Malakoff. 349 00:28:15,986 --> 00:28:19,822 The gentle breeze makes them disappear and reappear. 350 00:28:20,949 --> 00:28:23,159 Children in memories... 351 00:28:23,744 --> 00:28:25,828 almost lost. 352 00:28:43,639 --> 00:28:45,806 Go ahead. 353 00:28:45,933 --> 00:28:49,268 Laure Adler has come to record her radio show. 354 00:28:49,436 --> 00:28:52,396 Good evening, listeners. Welcome to Off-screen. 355 00:28:52,564 --> 00:28:56,234 We're once again at Agnes's house. 356 00:28:56,360 --> 00:29:00,571 We're here with your guest, Christian Boltanski, 357 00:29:00,739 --> 00:29:02,907 who's just arrived from Milan. 358 00:29:03,242 --> 00:29:05,368 Why did you invite him today? 359 00:29:05,494 --> 00:29:08,996 First, I love him. And second -- 360 00:29:09,122 --> 00:29:10,915 He's not blushing! 361 00:29:11,083 --> 00:29:13,417 He's used to it. 362 00:29:13,543 --> 00:29:16,754 He's greatly loved as an artist. 363 00:29:17,047 --> 00:29:20,716 I wanted to mention his extraordinary exhibition 364 00:29:20,842 --> 00:29:24,262 entitled Personnes -- with multiple meanings. 365 00:29:24,388 --> 00:29:26,555 "Personne" singular, "personnes" plural... 366 00:29:26,723 --> 00:29:30,059 One means "no one," the other means "everyone." 367 00:29:30,310 --> 00:29:32,520 The Grand Palais is so luminous. 368 00:29:32,646 --> 00:29:35,898 Who'd have thought Boltanski's world would fit in here? 369 00:29:36,692 --> 00:29:37,942 And yet... 370 00:29:39,653 --> 00:29:42,488 I've worked a lot with biscuit tins. 371 00:29:43,115 --> 00:29:47,994 They're everyday objects, but they remind me of funeral urns. 372 00:29:49,788 --> 00:29:52,456 Or a poor man's safe. 373 00:29:52,624 --> 00:29:55,584 Why are they rusty? 374 00:29:56,461 --> 00:29:58,462 That's an artistic effect. 375 00:29:58,588 --> 00:30:00,756 Rusty tins are more beautiful. 376 00:30:00,882 --> 00:30:03,634 They change colors. Each one is different. 377 00:30:04,553 --> 00:30:09,181 I've always used rusty metal tins. 378 00:30:10,142 --> 00:30:13,311 In the beginning I'd pee on them. 379 00:30:13,520 --> 00:30:16,647 Then I started using Coca-Cola, which rusts very well. 380 00:30:16,815 --> 00:30:20,151 But here there are so many that I used acids... 381 00:30:20,736 --> 00:30:23,154 in a warehouse. 382 00:30:23,405 --> 00:30:27,658 I think there are about 3,500 tins on this wall. 383 00:30:28,618 --> 00:30:31,454 They bear only numbers. 384 00:30:31,580 --> 00:30:34,999 It's terrible to kill someone, but it's even worse... 385 00:30:35,959 --> 00:30:38,252 to strip them of their identity. 386 00:30:38,879 --> 00:30:42,673 The numbers evoke a sense that there's someone there, 387 00:30:42,799 --> 00:30:45,760 and they're all different. Each tin is different. 388 00:30:45,886 --> 00:30:48,888 It's as though each tin has someone inside... 389 00:30:49,014 --> 00:30:51,265 or someone's heart... 390 00:30:52,267 --> 00:30:54,143 or someone's spirit. 391 00:30:58,774 --> 00:31:01,400 To me this wall is like a buffer zone 392 00:31:01,568 --> 00:31:04,028 between the street and the mountain. 393 00:31:08,658 --> 00:31:10,868 There are 69 rectangles here. 394 00:31:11,411 --> 00:31:15,247 Rectangles of clothing lying on the floor. 395 00:31:16,041 --> 00:31:18,626 The posts surrounding the clothes 396 00:31:18,794 --> 00:31:21,128 have little loudspeakers 397 00:31:21,254 --> 00:31:24,673 emitting the sound of hearts beating. 398 00:31:25,425 --> 00:31:28,094 Different people's hearts. 399 00:31:29,054 --> 00:31:31,555 Each post emits a different sound. 400 00:31:33,725 --> 00:31:36,352 The loud sounds 401 00:31:37,062 --> 00:31:39,522 are also like a muffled machine. 402 00:31:39,648 --> 00:31:43,901 All these hearts beating sound like a locomotive in motion 403 00:31:44,069 --> 00:31:47,696 or a machine whirring loudly. 404 00:31:53,578 --> 00:31:56,122 And these rectangles, 405 00:31:56,331 --> 00:31:59,417 all different, all varying in composition... 406 00:32:00,544 --> 00:32:02,753 form rows like in a cemetery. 407 00:32:02,879 --> 00:32:05,756 But to me they're also like a refugee camp -- 408 00:32:05,924 --> 00:32:07,758 perfectly laid out 409 00:32:07,926 --> 00:32:11,011 but disordered and frightening on the inside. 410 00:32:15,934 --> 00:32:18,477 These rectangles here are comprised 411 00:32:18,603 --> 00:32:20,771 of coats lying on the floor. 412 00:32:21,106 --> 00:32:24,233 You can see each coat's individuality, 413 00:32:24,359 --> 00:32:27,611 which to me is like each person's individuality. 414 00:32:28,572 --> 00:32:32,950 So the first part of the exposition is really about individuals. 415 00:32:33,118 --> 00:32:36,537 Then, on the mountain, this place of death, 416 00:32:36,663 --> 00:32:39,748 we can no longer distinguish individuals. 417 00:32:39,916 --> 00:32:43,586 It's one great mass. They've all lost their identity. 418 00:32:44,796 --> 00:32:49,091 Perhaps not a mountain, but the biggest pile possible. 419 00:32:49,634 --> 00:32:53,304 There have been lots of images -- 420 00:32:53,472 --> 00:32:57,766 When there are massacres, bodies are piled on bodies. 421 00:32:57,976 --> 00:33:01,896 It's the tangle of bodies that interests me. 422 00:33:02,731 --> 00:33:05,274 It's a study of mass graves. 423 00:33:07,194 --> 00:33:10,070 It's also about catastrophes. 424 00:33:10,530 --> 00:33:13,741 It's about the earthquake in Haiti too. 425 00:34:01,706 --> 00:34:04,333 The idea of this claw, 426 00:34:04,459 --> 00:34:07,503 usually used for cars or very heavy things, 427 00:34:07,629 --> 00:34:10,422 and which here picks up very light things, 428 00:34:10,549 --> 00:34:13,133 came from carnivals, 429 00:34:13,260 --> 00:34:17,054 those games with pincers that scoop up teddy bears. 430 00:34:17,222 --> 00:34:20,099 I never could grab a teddy bear... 431 00:34:20,225 --> 00:34:22,810 while here the claw grabs the clothes. 432 00:34:23,812 --> 00:34:26,814 So there's the constant movement... 433 00:34:27,482 --> 00:34:30,818 of the claw grabbing and discarding. 434 00:34:30,944 --> 00:34:33,571 But it grabs at random. 435 00:34:33,738 --> 00:34:37,575 For me it's like the hand of God, neither good nor evil, 436 00:34:37,742 --> 00:34:41,203 just doing its job, grabbing and discarding. 437 00:34:45,250 --> 00:34:49,003 Fate is blind. It grabs anything, at random. 438 00:34:49,129 --> 00:34:51,338 It takes anyone, at random. 439 00:34:51,798 --> 00:34:55,426 For me, that's the theme of this piece. 440 00:34:55,635 --> 00:34:59,847 As you age, you wonder why one person lives and another dies. 441 00:34:59,973 --> 00:35:02,308 Why am I still alive? 442 00:35:02,434 --> 00:35:05,311 There appears to be no particular reason. 443 00:35:05,604 --> 00:35:07,563 It's pure chance. 444 00:35:09,274 --> 00:35:12,318 The freezing cold weather we had at the start, 445 00:35:12,444 --> 00:35:14,778 that bitterly cold January, 446 00:35:15,030 --> 00:35:19,783 was an integral part of the exposition for me. 447 00:35:23,747 --> 00:35:26,665 I absolutely wanted the exposition to take place 448 00:35:26,833 --> 00:35:29,627 in the heart of winter. 449 00:35:30,295 --> 00:35:34,131 What I'm trying to do is put people inside the work, 450 00:35:34,257 --> 00:35:36,300 not outside looking in. 451 00:35:36,635 --> 00:35:40,638 It should engage all the senses -- the sound, the cold. 452 00:35:40,764 --> 00:35:43,641 We should be chilled to the bone, lost. 453 00:35:49,773 --> 00:35:53,233 I think talking about all these things... 454 00:35:55,695 --> 00:35:59,198 and trying to understand these mysteries... 455 00:35:59,324 --> 00:36:02,618 makes me happier and more serene. 456 00:36:04,120 --> 00:36:06,413 Have a bit more. 457 00:36:09,376 --> 00:36:13,087 My art doesn't seem very joyful. 458 00:36:14,130 --> 00:36:17,966 Maybe because I explore death and all that. 459 00:36:18,093 --> 00:36:20,552 But I'm actually a very joyful person. 460 00:36:20,679 --> 00:36:23,097 I really love life. - More than I do. 461 00:36:23,223 --> 00:36:25,391 You hate life! 462 00:36:25,517 --> 00:36:27,851 That's not true. 463 00:36:29,437 --> 00:36:32,231 It's certainly fun watching you two together. 464 00:36:32,357 --> 00:36:35,859 There are only a few artist couples out there, 465 00:36:36,027 --> 00:36:38,404 famous or not. 466 00:36:38,530 --> 00:36:41,240 I filmed Elsa and Aragon, for example. 467 00:36:42,367 --> 00:36:45,285 You're both artists, making different types of art. 468 00:36:45,412 --> 00:36:48,831 I lived with a filmmaker. We each did different things. 469 00:36:48,957 --> 00:36:51,750 What's your life like? Is it difficult? 470 00:36:52,877 --> 00:36:55,129 Living with someone is always difficult. 471 00:36:55,255 --> 00:36:58,048 Yes, but is living with an artist 472 00:36:58,550 --> 00:37:00,467 like Christian difficult? 473 00:37:00,635 --> 00:37:03,053 That's a big topic! 474 00:37:03,805 --> 00:37:05,597 Certain things are easier. 475 00:37:05,724 --> 00:37:09,268 He understands if I'm depressed about something. 476 00:37:10,353 --> 00:37:14,440 But it's more complicated on other levels. 477 00:37:15,900 --> 00:37:18,819 I don't think I could live with someone 478 00:37:19,237 --> 00:37:21,363 from outside the art world. 479 00:37:21,531 --> 00:37:25,159 I don't think I could live with a doctor or lawyer. 480 00:37:25,285 --> 00:37:27,453 I'd find that really hard. 481 00:37:27,829 --> 00:37:33,375 I agree. I can't see myself with a banker or an insurance agent. 482 00:37:33,501 --> 00:37:35,169 Though he might have reassured me! 483 00:37:36,129 --> 00:37:39,006 When Annette shows her work abroad, 484 00:37:39,215 --> 00:37:42,009 I never attend the opening, and she never attends mine. 485 00:37:42,135 --> 00:37:45,596 You must have gone to Venice when she was in the Biennial! 486 00:37:45,764 --> 00:37:47,097 He didn't go? 487 00:37:47,932 --> 00:37:50,934 Then you went later. - Yes, I did. 488 00:37:51,436 --> 00:37:55,564 We live our lives as separately as possible. 489 00:37:55,690 --> 00:37:58,901 Annette never sets foot in my studio. - Almost never. 490 00:37:59,027 --> 00:38:03,113 She doesn't know what I'm working on. I never go in her studio. 491 00:38:06,242 --> 00:38:08,744 This is Base 2, my studio. 492 00:38:09,287 --> 00:38:12,581 He never comes here, and I never go in his studio. 493 00:38:12,707 --> 00:38:14,708 They're totally separate. 494 00:38:15,794 --> 00:38:20,297 It's not a family thing. It's an individual thing. 495 00:38:21,466 --> 00:38:24,343 You're alone when you do your work. 496 00:38:24,469 --> 00:38:26,470 You have to be alone. 497 00:38:26,763 --> 00:38:28,305 Tar paper... 498 00:38:28,723 --> 00:38:29,807 stuffed animals... 499 00:38:29,974 --> 00:38:31,433 colored pencils... 500 00:38:31,643 --> 00:38:33,811 black aluminum foil. 501 00:38:33,937 --> 00:38:35,562 You play with different media. 502 00:38:35,688 --> 00:38:38,649 There's fabric, rubber, 503 00:38:38,817 --> 00:38:41,235 rope, lots of nets. 504 00:38:42,153 --> 00:38:44,988 What's on the wall? The mood of the day? 505 00:38:45,198 --> 00:38:47,491 It says "jealousy"... 506 00:38:47,659 --> 00:38:51,578 and written underneath it says "love" 507 00:38:51,955 --> 00:38:54,164 in stuffed animals. 508 00:38:54,541 --> 00:38:57,167 Always love and jealousy -- is that it? 509 00:38:57,335 --> 00:38:59,670 I think so, no? 510 00:38:59,796 --> 00:39:01,171 I don't know. 511 00:39:01,339 --> 00:39:07,636 Of course I played off my identity as a woman. 512 00:39:07,762 --> 00:39:10,055 That's why I made those albums 513 00:39:10,181 --> 00:39:13,684 when I was between 25 and 30. 514 00:39:14,352 --> 00:39:16,353 You want to be unique 515 00:39:16,521 --> 00:39:20,357 and have a signature with lots of personality. 516 00:39:21,192 --> 00:39:23,944 I did 200 different signatures. 517 00:39:24,112 --> 00:39:25,988 This is "A. Messager." 518 00:39:26,114 --> 00:39:30,242 This one's funny because the "A" becomes -- 519 00:39:30,869 --> 00:39:32,870 The "A" with the "M"... 520 00:39:35,206 --> 00:39:39,543 At first I called myself "Annette Messager, Collector" 521 00:39:39,669 --> 00:39:42,963 for my collections of my signatures 522 00:39:43,131 --> 00:39:46,466 and for The Men I Love, The Men I Don't Love. 523 00:39:49,846 --> 00:39:51,555 The Men I Love 524 00:39:52,223 --> 00:39:54,224 I love his eyes, I love his cigar 525 00:39:54,517 --> 00:39:56,310 I don't love his cigar I don't love his nostrils 526 00:39:56,978 --> 00:39:58,395 The Men I Don't Love 527 00:39:58,521 --> 00:40:03,066 I only used men I didn't know. 528 00:40:03,401 --> 00:40:05,903 Men from newspapers and magazines 529 00:40:06,070 --> 00:40:08,530 who might inspire fantasies 530 00:40:08,698 --> 00:40:10,908 the way women in magazines do. 531 00:40:11,242 --> 00:40:14,912 They're like open books. I wanted them to be 532 00:40:15,538 --> 00:40:18,415 like little butterfly men, 533 00:40:18,583 --> 00:40:21,585 flitting about, half open. 534 00:40:23,212 --> 00:40:25,756 Alexia Fabre of the MAC VAL Museum. 535 00:40:26,257 --> 00:40:28,216 This one's very handsome. 536 00:40:28,343 --> 00:40:30,761 She loves his relaxed, elegant style. 537 00:40:30,929 --> 00:40:33,513 She doesn't love his shirt collar. 538 00:40:33,723 --> 00:40:36,433 And she doesn't love his boastful air. 539 00:40:38,269 --> 00:40:40,771 "I love his stray lock and glistening hair. 540 00:40:40,939 --> 00:40:44,608 I don't love his toupee. I don't love his part." 541 00:40:44,859 --> 00:40:46,777 We love someone for a reason, 542 00:40:46,945 --> 00:40:50,113 and for that same reason, he begins to annoy us. 543 00:40:50,239 --> 00:40:54,117 We say we love his mustache, then suddenly we can't stand it. 544 00:40:54,285 --> 00:40:55,744 So here... 545 00:40:55,870 --> 00:40:58,121 "I love his tough, clean look." 546 00:40:58,289 --> 00:41:01,959 Then suddenly, "I don't love his tough, clean look." 547 00:41:05,964 --> 00:41:08,131 In My Vows... 548 00:41:08,341 --> 00:41:10,634 you have body parts. 549 00:41:10,802 --> 00:41:14,930 Body parts overlapping and interlocking. 550 00:41:15,181 --> 00:41:18,475 There are parts of hands, breasts, genitals. 551 00:41:18,643 --> 00:41:20,811 Were you having fun or what? 552 00:41:20,979 --> 00:41:24,314 The photos are mainly... 553 00:41:25,358 --> 00:41:27,442 of people I know. 554 00:41:27,819 --> 00:41:30,278 Fragments, close-ups, 555 00:41:30,405 --> 00:41:32,656 but all very black and white. 556 00:41:32,824 --> 00:41:36,451 They're all jumbled up. You can't identify anyone. 557 00:41:36,577 --> 00:41:38,537 It's humanity. 558 00:41:47,338 --> 00:41:52,509 Then at some point I'd had enough of this series 559 00:41:52,760 --> 00:41:55,595 of suspended objects, with ropes and all. 560 00:41:55,722 --> 00:41:59,850 I wanted something more aggressive, more dynamic. 561 00:42:00,018 --> 00:42:02,602 I picked up a broom one day. 562 00:42:02,729 --> 00:42:05,897 "This is it. It's a pole. 563 00:42:06,024 --> 00:42:09,568 I'll stick something on it." The opposite of suspending things. 564 00:42:09,694 --> 00:42:12,362 Like spears from the French Revolution 565 00:42:12,488 --> 00:42:15,032 that I've stuck things on. 566 00:42:15,408 --> 00:42:19,119 It's like they're waiting to go out on a protest march. 567 00:42:19,245 --> 00:42:22,539 We have a lot of those in France. 568 00:42:22,832 --> 00:42:26,084 Kill the bill! 569 00:42:26,377 --> 00:42:30,213 General strike until our demands our met! 570 00:42:30,465 --> 00:42:32,758 Enough of this society 571 00:42:32,925 --> 00:42:35,886 of unemployment and job insecurity! 572 00:42:36,345 --> 00:42:41,183 We worked to earn it, we'll fight to keep it! 573 00:42:41,309 --> 00:42:44,603 Our pension belongs to us! 574 00:43:02,872 --> 00:43:05,332 You often use household items: 575 00:43:05,458 --> 00:43:07,834 comforters, pillows... 576 00:43:08,086 --> 00:43:09,753 cuddly toys. 577 00:43:10,379 --> 00:43:13,423 A bolster is soft. 578 00:43:13,549 --> 00:43:15,467 It's for sleeping. 579 00:43:15,593 --> 00:43:19,054 It's on the bed, so there's a sexual connotation too. 580 00:43:19,180 --> 00:43:22,182 I like to fiddle with them 581 00:43:22,308 --> 00:43:26,686 and have photos peeking out from underneath. 582 00:43:26,813 --> 00:43:29,940 All these familiar objects 583 00:43:30,191 --> 00:43:33,110 are what I actually find unsettling. 584 00:43:33,861 --> 00:43:36,696 The fantastical is all around us. 585 00:43:37,365 --> 00:43:40,951 A practical object can become magical. 586 00:43:41,160 --> 00:43:43,745 I listened to a phone message. 587 00:43:43,913 --> 00:43:47,624 "Would you design the new pass for the Pompidou Center?" 588 00:43:47,750 --> 00:43:50,168 I thought, "Piss off!" 589 00:43:50,378 --> 00:43:53,088 Then, "Wait, that's it!" 590 00:43:53,297 --> 00:43:55,966 "Pass Card, Piss Card." 591 00:43:56,175 --> 00:43:58,468 Surprisingly, they agreed to it. 592 00:43:58,594 --> 00:43:59,761 It was great. 593 00:44:00,972 --> 00:44:05,600 Children's cuddly toys spell out the bad rumors Annette has incited. 594 00:44:05,726 --> 00:44:08,228 RUMOR 595 00:44:11,065 --> 00:44:13,108 My work has always been like this. 596 00:44:13,359 --> 00:44:15,527 And I get insults. 597 00:44:15,695 --> 00:44:17,988 "Dirty whore." "Filthy artist." 598 00:44:18,197 --> 00:44:19,990 Why? 599 00:44:20,116 --> 00:44:23,160 My line, "I think therefore I suck." 600 00:44:23,286 --> 00:44:26,204 Horrible comments! On blogs too. 601 00:44:26,372 --> 00:44:30,000 - "I think therefore I suck"? - Yes, I embroidered that. 602 00:44:30,334 --> 00:44:32,502 And that makes you a slut? 603 00:44:34,130 --> 00:44:38,341 Despite your bad reputation, your name is written in gold. 604 00:44:38,467 --> 00:44:40,927 You have a gilt-edged catalog at the Pompidou. 605 00:44:42,013 --> 00:44:44,347 You're shut inside a museum. 606 00:44:44,515 --> 00:44:48,476 Then suddenly you did that funny thing, The Slammer... 607 00:44:48,603 --> 00:44:52,355 a little guy who knocks all around in every direction. 608 00:44:52,481 --> 00:44:54,482 He wants to get outside 609 00:44:54,609 --> 00:44:58,862 to see the fountain by Jean Tinguely and Niki de Saint Phalle. 610 00:45:02,200 --> 00:45:04,326 I was really taken with that. 611 00:45:07,455 --> 00:45:10,498 Beaubourg is in the heart of Paris, 612 00:45:10,625 --> 00:45:15,587 with people bustling all around. 613 00:45:15,713 --> 00:45:19,966 What's inside wants to get out too. It was to show that.