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tv   Arts.21 - Three exceptional female artists  Deutsche Welle  December 15, 2018 10:30pm-11:01pm CET

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he fits in the pantheon of the great tenors certainly he's one for the ages. of. ten or fifteen. starts december twenty second j w. well country it's twenty one today with three remarkable women. the revolution three dunst changed through movement the sash of us has redefined our concept of space of the human body she's one of germany's most versatile and best known choreographer. the. photographic arts by shirin neshat 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 a self as a freedom fighter deploying the weapons of mass 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. trust remember. last page. today she's an icon. we met all three these exceptional artists each has overcome a number of obstacles along their way and encounter with three unstoppable women.
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spring in new york twenty ten in the museum of modern art marina abramovich ventures to do what no artist before 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 her 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. and. lonely man. marina abramovic has turned her life into a recess and she has exposed herself to pain. discomfort. even danger ever since the one nine hundred seventy s. . abramovich grew up after world war two in belgrade the capital of communist yugoslavia. had parents the partisans who had fought the nazis during the womb. the father was a high ranking officer and mother a historian it was
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a strict time where discipline was more important than love. the child that was painting my dreams and then i was writing poetry and then i with art academy and then i started painting and then from the painting somehow come this fall idea of making a performance i really was thinking to be in the 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 had been the early access to the other ideas similar in the time internationally i was like a black sheep in the middle of nowhere and and everybody was thinking i'm completely crazy this war is nothing this is not you can't call this art my professor. we parents 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. if you. ask you to. ask people to. ask is more than skin deep literally she brushes her head until his skull leads to criticize the fact that art should only ever. cause the pain to myself in order to free myself from pain than pain is ok this was exactly you're not your friend the pain confront the self with the tree of that's exactly what i have to be done and in my life to become something to do with everything you know if i'm afraid of something or. panicking or i'm going to our north i would do . in a city rainy and shirin neshat uses her work to come to terms with her home country
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. when the islamic revolution swept through iran in one nine hundred seventy nine she remission it was living in the us. she didn't return to iran until a decade later it was the last visit. these photos of her response to the country's altered cultural landscape women who wear veils but exude self-confidence nonetheless i myself i really want to. yet make it work. syrian national it is soft spoken and reserved and then bishops 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 only in twenty seventeen she had an exhibition at the revered billard summer zero career. the her. one of my eyes is
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a series of large portraits. measured first aircraft men and women of all ages in azerbaijan neighbor to iran and former member of the soviet republic each person has a similar pose. as abberation was a part of iran up until the nineteenth century so when i went as our version i felt like i was going home and me that never goes back to iran being you know as i have a joint was very sort of moving for me and most damaging. as a passion is a multi-ethnic nation between the caucasus mountains and the caspian sea. here and muslims jews and christians lived peacefully side by side. the artist also asked her 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 questions herself. and lost all flavor of what is the meaning of home by being nomadic or not homeless but no magic and it was a interesting because they're there things that they pointed out towards what was the essence of the meaning of home to them as certain reasons that with never ever allowed them to leave by chance of me questioning them a bad they're in their relationships as a concept of home was really my own self looking into the mirror and asking those questions to myself. 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 us to study the western backed shah was still in power at the time. then in one nine hundred seventy nine he was overthrown and the islamic fundamentalist ayatollah khamenei took over young she. and there
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should could no longer go back to see her family. i think those years were the most traumatic years of my life this separation became really critical for me as a young person who was not quite at ease with the american quarter and theirs but they wanted to go home but it wasn't possible because the airports were caused rania and american relationship broke down and the war with iraq had become so serious that my family just said please don't even think of coming back before you know it you find other people who are in the same situation and you bond together like i have with my husband with my colleagues that i work with and we create our own community as survivors and we made arts and and then you end up creating pioneering your own lifestyle that is not magic.
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the film royer shows how little shirin there shot felt at home in the usa the country of exile. collaborating and occupying free spaces is also familiar. to joining choreographer moved to berlin in the early ninety's ninety's shortly after reunification. the transitioning says he was an elder rather of sorts for the arts fringe anything was possible. it's found at the dancehall songbook his actual votes and guests and sets 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 such of us discovers there's a fiend sale of a new and choreographs her first successful dance piece they're on later or avenue
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of the 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 chitter and her ensemble of arts designed a performance in the courtyard and wings of an old private palace from the colonial era. it was a river the project in calcutta was very unusual it was set in an old palace and it
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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. traveling has always been a part of the way we see ourselves right from the beginning it defines our longing and our self image. 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 i started taking dance lessons when i was five until the age of about twelve. it was only out. after i discovered post modern dance and contact improvisation with some dollars these techniques of consciousness and perception that i really developed an interest in studying dance. studio during
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a five year stint as an artistic director of dylan shelby in a theater session of arts 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 viewers memory like a nightmare. at the same time 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 feel more crafted or artificial for clear too if 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 hear those things might be actually rehearsed or 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 opera houses are now opened in 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 abramovich her major retrospective exhibition the cleaner wasn't done until the summer of twenty eighteen before moving on to the pulitzer struts in florence. 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 my last really the longest you ever did how did this idea. come into life i know i was very difficult i know that was the man the process but also all that it was my new trance to learn to show to the public transformative force of performance and with absolute simply nothing. i've done this artist is present thinking that this chair will be empty before this new york nobody have time to sit and say it's crazy for as well to see. in front of you. never to have people slept in the front of the museum.
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and i was thinking why this important performance gets you know attention i think because the public right now is so much ready for this kind of spirit twenty years ago was not be ready there was will be something else going on for trying now we are so tired of walking to us was so tired. of god sort of knowledge of north korea . completely not ability to have emotions but to to have relationships on august sixth of september 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 four
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completely different women wishing to escape their lives. but. a woman without then was based on a great novel i magically list novel written by one of the most important iranian women writers who have lived in exile. and you know have often written poetry
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and my work and my photographs by master poets that i want. i somehow look up to woman particularly women that come from there they oppress the societies yet are quite empowered that's my fish to his stomach not santa gums diminished in the back so yeah and if all goes what index a young fellow did on economic invention then i mean i don't condone. god it used to unite and then evaluate just a few me then do missions minus all the fun stuff i'm happy just raced and i'm going to france right now. this is not a place i know that. he was the dog and not that the dogs he was the state. that's just me i was. women without men is her most political film yes. q 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 audience do you think i'm a feminist they all said yes so gave using other film as 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 city 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. you heard. during the show likes to take a gamble. the. german
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choreographers that show 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. 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 curry opera first with a contemporary language to work with this diversity in these different possibilities of the body move. in 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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movie in the realm of it has never really cared much about what others thought of her 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 blake order to white this is it with a clean to wear and lipstick and nail polish you know fashion was totally disregard it's like a friend to look something that is ridiculous that is like the 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 sub with the you know just like just about fashion is about i do meditation winter retreats i'm going to wear you away the places in india i have
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the all system of actually how i work with my body my works planted doesn't fenty i don't space to breathe for the shows touring you know your performances and trying to do different projects collaboration works so all this mess and then comes this island of quietness which is the performance itself. in the more recent where the artist has been tackling more and settling issues like death. and you are you. you know that you know that you're going to the last part of your life and that you have to really concentrate on most important things and i decide to be happy this is my main you know kind of say. this isn't about getting seventy while i'm.
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good. but. i will say some more by buys some more things i think by by list is getting longer which will it be they also already say bye bye happiness bye bye suffering bye bye. intensity i actually will bring back i don't want to say bye bye to intensity i'm intense human eye but i will say the bye bye bullshit bullshit. three artists three free spirits all made it to the top. i moved on and i don't want to always live with this sense of longing in this one think i do have returned i feel that i have come to an end of that chapter and my stories make
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concepts my characters are altered changing what remains constant is myself. from the issues those coming in the strength of dance lies in the fact that it's language is so much fear that's what makes it so grand being able to touch that secret behind the wheel i. have no leg to tell me it's to me is looking to apologise but i can go through this is the truth this is why it's so clear in all of them i didn't put myself in any of all.
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thanks. you know this week's highlights. humus spectacle of the system life. come first modern living in malta. and treadmill in the green room benefits my hours. the moment. thirty minutes. or more.
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in the percent of americans in some point in our lives will experience hardship that. we make up over three quarters of africa that hand up educate we all this summer some of us are. the want to shape the continent's future it's hard to enjoy some stores as they share their stories their dreams. the seventy seven percent platform for africa in charge of. natural reaches. precious resources. and to rewarding investment. for land has
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been called ethiopia's. the country has an abundant supply complete says it to international prefer giants government export revenues to corporations high profit margin. but not everyone benefits from the booming business. when i saw the bulldozers clearing the land i was devastated give me how could they bulldoze the land without my permission and they knew it belonged to me . expropriations. ornamental destruction starvation. the price for government and corporate greed. the sowing out of the country. dead donkeys fear no hiding you know. starts december twenty ninth on d w.
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this is live from berlin a breakthrough at the u.n. climate change conference in poland delegates unanimously agree on rules to implement the twenty fifteen paris agreement but critics say it's not ambitious enough to prevent the dangerous effects of global warming when. to an expansion into. more demonstrations across from. just take to the streets for a fifth straight weekend their numbers on down but the yellow face say they're not rachel could suggest.

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