:00:35. > :00:39.This has become the contemporary art world's favourite shopping Mall.
:00:39. > :00:43.Also tonight, Anahita Razmi heads to the roof-tops to meet Anahita
:00:43. > :00:48.Razmi. Miranda explores the extraordinary
:00:48. > :00:52.life and work of sculptor Judith Scott.
:00:52. > :00:57.And Simon visits the craftsmen behind some of Britain's re stored
:00:57. > :01:01.historic gems. It's not as easy as it looks.
:01:01. > :01:08.Mark Kermode attends the biggest screening of the week.
:01:08. > :01:14.And I'll be looking into the human brain.
:01:14. > :01:18.First, the Frieze sculpture park with an interestingly varied
:01:18. > :01:24.collection of works by internationally ail claimed artists
:01:24. > :01:31.all set in the regent park. You'd need an invite, a special
:01:32. > :01:36.invite to attend the main fair on day one. Alistair joined the chosen
:01:36. > :01:41.few for this private view. It's estimated that up to 80% only
:01:41. > :01:47.come to speck Tate, will you today is all about everyone belonging to
:01:47. > :01:50.that other cash-laden 20%, the buyers. It's these people that the
:01:50. > :01:56.German artist Christian Jankowski probably had in mind when he was
:01:56. > :02:04.commissioned to create a new piece for the fair. We meet him last week
:02:04. > :02:08.before he sailed into Frieze. One of the most controversial and
:02:08. > :02:14.costly art works up for grabs this year at Frieze Art Fair won't be
:02:14. > :02:19.made in an artist's studio or warehouse, it will be built here,
:02:19. > :02:22.on Italy's Adriatic coast. You might not instantly recognise it as
:02:22. > :02:27.art. A gigantic superyacht, like this
:02:27. > :02:34.one behind me, will be available to buy in London. Either as a luxury
:02:34. > :02:39.boat, or an artwork. It's exactly the same thing but has a really
:02:39. > :02:45.different price tag. As a luxury yacht it's yours for 65 million
:02:45. > :02:53.euro. As an artwork it's a handsome 75 million. It's a 10 million euro
:02:53. > :02:58.mark-up. We're talking about a lot of money.
:02:58. > :03:02.The project is the brain child of brazen German artist Christian
:03:02. > :03:08.Jankowski. Jankowski's art has a sharp sense of humour. For a recent
:03:08. > :03:13.video piece he persuaded a panel of Vatican insiders to audition the
:03:13. > :03:23.part of Jesus. They're made to perform a series of
:03:23. > :03:25.
:03:25. > :03:28.X-Factor-like biblical challenges before a winner is picked.
:03:28. > :03:33.I can't believe that the Vatican let you do that, how did you
:03:33. > :03:37.convince them? I met many people over the period of three months and
:03:38. > :03:41.the higher I got the easier it was to talk to them and then they said
:03:41. > :03:45.yes. It would have been nice if the Pope had been in it, no? Of course,
:03:45. > :03:50.yeah. I've asked Christian to explain his yacht idea out on the
:03:50. > :03:54.deck of a borrowed boat to find out a bit more. And experience a bit of
:03:54. > :03:57.the luxury living that awaits potential buyers. It's really weird
:03:57. > :04:04.how really wealthy people always go to white, it obviously shows that
:04:04. > :04:14.you can have things cleaned regularly. Let's get going.
:04:14. > :04:19.
:04:19. > :04:25.Tally ho. So, this artwork, what do I get for
:04:25. > :04:33.the extra 10 million that makes it an artwork? You get my name is
:04:33. > :04:36.control letters and I give my name to this boat. Of course, you get an
:04:36. > :04:40.artwork, a different thing than it was before, it's not just a boat
:04:40. > :04:46.but an artwork. When you get the whole concept of it, you see that,
:04:46. > :04:51.it is a new statement, you are not only the rich collector that does
:04:51. > :04:55.something, but you also are a co- author, that is crazy enough to
:04:56. > :05:01.spend 10 million more to be part and put something on earth that is
:05:01. > :05:05.an artwork like a media, at the same moment it's a sculpture, use,
:05:05. > :05:08.to play with, to confuse other people and bring them into new
:05:08. > :05:13.discussions and perspectives about it. So the only addition you've
:05:13. > :05:17.made to the boat physically is the labeling? Yeah. You decided not to
:05:17. > :05:22.make any other aesthetic decisions or choose any features to be added
:05:22. > :05:26.to the boat? No, first when I started talking to the shipbuilders
:05:26. > :05:30.about this idea there was this, you know, the wish also to produce
:05:30. > :05:33.something inside the boat, to do something with it, to somehow make
:05:33. > :05:37.it more arty. But I had to explain very carefully that it's very
:05:37. > :05:41.important that it stays as this concept. If you're charging 10
:05:41. > :05:49.million for it as an artwork, you're putting yourself up there
:05:49. > :05:54.with Picasso and the great Masters? Why not? It's not what Picasso had
:05:54. > :06:00.in the first place, also that value has only been created by dialogue
:06:00. > :06:06.by artists by the market. Christian's work also asks awkward
:06:06. > :06:09.questions about the economic and symbolic value of art. In his 2009
:06:10. > :06:18.piece, Strip The Auctioneer, a Christie's employee sells off his
:06:18. > :06:23.belongings to the highest bidder as part of a performance piece.
:06:23. > :06:27.A lot of your projects seem to be really elaborate in the
:06:27. > :06:34.organisation of them. There's something quite ballsy about them,
:06:34. > :06:41.I imagine they need quite a lot of confidence to be able to pull them
:06:41. > :06:45.off. Upbgs? Yeah, I think you might. You think so? Yeah, I think you
:06:45. > :06:48.might. It's a simple idea, you have the partners, the collaborators,
:06:48. > :06:53.and koefrgs of course they offer awe lot more options to work with
:06:53. > :06:58.them. . His collaborator on this project
:06:58. > :07:02.is Luca Boldrini, the brand manager of the super yacht company
:07:03. > :07:07.Christian is working with. Luca Boldrini will be trying to sell the
:07:07. > :07:11.artwork at Frieze. OK, you're the sales director of
:07:11. > :07:15.the company and you'll be selling this at Frieze, sell it to me as an
:07:15. > :07:19.artwork. Normally a piece of art doesn't lose value but gains value
:07:19. > :07:22.throughout the years. Many of our collectors they have something
:07:22. > :07:26.hanging on the wall, on the studio or they can see something in a
:07:26. > :07:30.museum, but in this case they can be evolved into the piece of art,
:07:30. > :07:38.they can use the piece of art, they can enjoy it, they can share it.
:07:38. > :07:43.With many different people. It's quite a bombastic project that
:07:43. > :07:47.could irritate the general public, I think. It might get a lot of
:07:47. > :07:52.criticism. There's the usual criticisms, I could do that or is
:07:52. > :07:56.it art? Yeah, but when you're on the art fair, especially Frieze you
:07:56. > :08:01.have those people coming by, you've those people who already own yachts,
:08:01. > :08:04.if you already collect a couple of yachts, you know, why not? It
:08:04. > :08:09.brings immediately a dialogue with everything that happens on Frieze
:08:09. > :08:15.commercially. It's for me, the boat isn't the artwork, you doing it is
:08:15. > :08:19.the artwork. I see it as you trying to get away with selling a boat as
:08:19. > :08:25.an artwork. It's both at the same time. The performance aspect is as
:08:25. > :08:29.important as the sculpture. Both of it is needed. Without boat, no
:08:29. > :08:34.story. But the story isn't quite complete. At the moment there is no
:08:35. > :08:37.boat. Because these superyachts are so massively expensive, Christian's
:08:37. > :08:41.main artwork won't actually be built until the collector hands
:08:41. > :08:45.over the dosh. Instead, this smaller yacht will be on display at
:08:45. > :08:49.Frieze. It, too, can be bought as either a boat or as a work of art,
:08:49. > :08:55.but comes free if you buy the superyacht. Physically there's very
:08:55. > :09:00.little to go on, it's all about the concept. What do you mean by very
:09:00. > :09:06.little to go on, there is so much to offer, in the moment you're at
:09:06. > :09:10.Frieze fair you're standing in front of a crazy, great sculpture,
:09:10. > :09:15.you see the salesperson that normally sells boats. Of course in
:09:15. > :09:21.the end it's an idea, but what else should there be but an idea in the
:09:21. > :09:28.beginning? Do you think it will sell? I don't know. Well, what
:09:28. > :09:31.percentage would you say? I would say right now it's a 50-50. If the
:09:31. > :09:34.boat does sell and the collector who buys it asks you to curate the
:09:34. > :09:40.works on board, would that be something you would consider?
:09:40. > :09:47.I would love to do that, yeah. Would you ask for another fee? Or
:09:47. > :09:52.is that part of the deal? Let me think about it.
:09:52. > :09:53.If we're honest there aren't too many of us who could even dream of
:09:53. > :09:57.affording Christian's work but there are plenty of other
:09:57. > :10:01.commissions here at Frieze for us to enjoy by a whole range of
:10:01. > :10:06.international contemporary artist. One who takes a much more poignant
:10:06. > :10:11.position is the winner of the emdash award, Anahita Razmi who has
:10:11. > :10:14.made a very powerful dance piece exploring political unrest on the
:10:14. > :10:17.roof-tops of Iran. We went along to meet her in the
:10:17. > :10:25.final stages of production. We deliberately blurred the faces of
:10:25. > :10:29.the dancers to deliberately protect their identity.
:10:29. > :10:32.This year the artwork commission is unlike any other in Frieze. The
:10:32. > :10:38.organisers had to keep it a secret and no publicity was even allowed
:10:38. > :10:41.until very recently. The artist herself risked not only turning up
:10:41. > :10:47.empty hand,ed she could have gone to prison.
:10:47. > :10:50.Anahita Razmi is a German-Iranian conceptual artist. For this year's
:10:50. > :10:54.Frieze Art Fair she's created a video installation which addresses
:10:55. > :10:59.the violent protests which shook Iran during the 2009 presidential
:10:59. > :11:02.election. Because no foreign media was
:11:02. > :11:10.allowed, the main coverage came from people using their mobile
:11:10. > :11:17.phones, which were uploaded to the internet at high personal risk.
:11:17. > :11:25.In 2009 they were going at night to the roof-tops to somehow do a night
:11:25. > :11:30.protest. They were shouting "death to the dictator". It was somehow
:11:30. > :11:35.echoing through the city. There's a great photograph from the world
:11:35. > :11:40.press photo as well? Yes, a woman standing on a roof-top in Tehran at
:11:40. > :11:45.night, shouting. It got really known.
:11:45. > :11:51.These women on the roof-tops reminded Anahita of an earlier
:11:51. > :11:56.dance piece Shadow seen set on the roof-tops in New York. The
:11:56. > :12:06.Roofpiece by American choreography, Tricia Brown it was the fusion of
:12:06. > :12:11.these images which gave birth to her current work. In Trisha Brown's
:12:11. > :12:15.1971 piece, 12 dancers were placed on 12 different roof-tops. They
:12:16. > :12:19.transmitted improvised movements from one dancer to the next, a bit
:12:19. > :12:25.like Chinese whispers. I was always intrigued by that performance
:12:25. > :12:31.somehow. At some point these two contexts came together, but it was
:12:31. > :12:35.somehow linking In My Head and saying, OK, to do something like a
:12:35. > :12:40.re-enactment of this performance in like present Tehran would be
:12:40. > :12:45.something that really makes sense. This is not the first time that
:12:45. > :12:50.Anahita has taken the work of other artists as a starting point. In
:12:51. > :12:55.2008 she was inspired by Tracey Emin's photograph, I've got it all.
:12:55. > :12:58.She created an alternative version by replacing bank-notes and coins
:12:58. > :13:03.with monopoly moneyy and casino chips to highlight the futility of
:13:03. > :13:07.money. A lot of your work is inspired by,
:13:07. > :13:14.or pays tribute to existing works. Yeah. What's the appeal of that for
:13:14. > :13:22.you? I quite like this idea of taking some work, is it, an artist
:13:22. > :13:27.and then making a connection, for example, like taking this to Iran,
:13:27. > :13:34.it's not so much about critiqueing something or somebody but taking it
:13:34. > :13:39.as a reference can be quite an honour.
:13:39. > :13:42.But the reenactment of Trisha Brown's piece was fraught with
:13:42. > :13:46.problems. As if filming in Iran wasn't dangerous enough, Anahita
:13:46. > :13:50.also had to deal with the Government's strict control of
:13:50. > :13:52.artistic expression, specifically dance, which is legally banned in
:13:52. > :13:57.Iran. When we were shooting this on the
:13:57. > :14:02.roof, we were dancing, we were not shouting, we are not making any
:14:03. > :14:07.protest movements like, OK, we, it is something that is somehow
:14:07. > :14:11.political but it becomes political in the end, not while we were doing
:14:11. > :14:15.it. I was working with professional dancers in Tehran, which you can
:14:15. > :14:19.find. It's a small community, but you can find them. It's a very
:14:19. > :14:23.underground thing, even doing the performance on the roofs, which
:14:23. > :14:27.roofs do you go to? You have to ask people and you have to ask them
:14:27. > :14:31.with an issue that is quite problematic. Were you scared,
:14:31. > :14:34.because there were journalists who have been locked up for doing, for
:14:34. > :14:39.being a journalist in Iran. If they found what you were doing, what
:14:39. > :14:42.might have happened? I could for sure say there is a risk in doing
:14:42. > :14:47.something like that. It definitely could have been that we couldn't
:14:47. > :14:50.have succeeded at all. You had a commission so, if it hadn't
:14:50. > :14:56.happened what would you have brought? When being in Tehran I was
:14:56. > :15:00.like, OK, I'm going to stay here until we've done it.
:15:00. > :15:05.Anahita has been working on the footage from the 12 different
:15:05. > :15:09.cameras in a studio in South London. Tell me how it works then. You have
:15:09. > :15:16.all these different cameras and footage. How have you assembled it?
:15:16. > :15:20.Basically, you can see it on the screen here because there are 12
:15:20. > :15:26.different cameras, each showing one dancer. That's dancer number one.
:15:26. > :15:31.The movement is translated to dancer number two here and number
:15:31. > :15:35.three picks up. It's almost like a ripple? Yeah, yeah. Which screen is
:15:35. > :15:39.this one? That is number 12, actually. The last one? The last
:15:39. > :15:44.one. It's pretty much the view of the city. There is the tower, which
:15:44. > :15:48.is quite a site in the city. terms of the geography of the roofs,
:15:48. > :15:55.how far apart were they? Were they all next to each other? There were
:15:55. > :15:58.some roofs which were quite close but we also had some very long long
:15:58. > :16:03.distance connections and it was hard for the dancers to pick up the
:16:03. > :16:07.movement and even seeing each other. Was it a straight line, dancer to
:16:07. > :16:11.another? No, not really. We had to work with the roofs we could get.
:16:11. > :16:19.How are you going to transfer this now to Frieze? I can show you on
:16:19. > :16:23.the map. So, you see a map, an architectural
:16:23. > :16:28.map of Frieze Art Fair. We will have 12 screens and there will,
:16:28. > :16:31.they will be located throughout the fair. It is possible, somehow,
:16:31. > :16:34.while walking around that you can make connections from one screen to
:16:34. > :16:38.the other. It's quite strange, though, isn't it, because your work
:16:38. > :16:43.is being shown in a place which will be full of commercial art.
:16:43. > :16:46.It's a bit of a contradiction? but I quite enjoy this
:16:46. > :16:52.contradiction for the piece. Because, in Tehran while we were
:16:52. > :16:57.doing the performance, of course, we couldn't have an audience, so
:16:57. > :17:04.this contradiction from doing this gorilla act and then going there to
:17:04. > :17:10.this art fair with this, maximum commercial audience, is such a nice
:17:10. > :17:13.contradiction in a way. I really enjoy having the piece there.
:17:13. > :17:17.Now, there's a rather beautiful slither of that piece playing
:17:17. > :17:22.behind me. But now, from the roof-tops of
:17:22. > :17:30.Tehran, to a bar in a Romanian castle.
:17:30. > :17:35.The bar is the creation of Pelesh empire.
:17:35. > :17:41.Here it is. It's intoxicating. I don't know
:17:41. > :17:45.who's witch. I'm bar bra Katrina. What's this all about? I feel like
:17:45. > :17:49.I suddenly walked into some weird hall of mirrors, everything is
:17:49. > :17:57.distorted. The images are supposed to look like you already had a
:17:57. > :18:01.drink. When did you first start the idea of this? It's actually, our
:18:02. > :18:08.project Pelesh empire is based on the Romanian castle, which is a
:18:08. > :18:11.130-year-old, quite young castle, that combines different
:18:11. > :18:15.architectural styles, Renaissance copies, art Deco. This is based on
:18:16. > :18:22.an image we took last summer. this is a back reference to our own
:18:22. > :18:26.history. When we started in a Frankfurt, we opened a weekly salon
:18:26. > :18:32.open to the public, it was in our own living rooms. So you were
:18:32. > :18:37.playing games in your own living rooms with reproductions, were are
:18:37. > :18:41.you creating this wall paper of photograph graphic distortion at
:18:41. > :18:44.that? Our first one we lived in the red-light district, we captured the
:18:44. > :18:48.first from the castle which was the prince's bedroom. That reference.
:18:49. > :18:51.So it's your own kind of portable castle and you take it with you and
:18:51. > :18:55.recreate it in different places but it's seen through a filter of
:18:55. > :18:59.distortion and change. Yes, we like the shift in materiality that when
:18:59. > :19:05.you're standing quite far away from it you first don't see, is this
:19:05. > :19:09.real or fake, then when you come closer, you see the marks of the
:19:09. > :19:13.step forbd A3 sheets. So, it's all about perception being distorted
:19:13. > :19:18.and filtered, which is kind of what happens when off drink, right.
:19:18. > :19:28.Exactly, that's why the bar concept fits well. Thank you, what do we do
:19:28. > :19:30.
:19:30. > :19:34.now, have a drink? Yes. Cheers. Now for a different kind of
:19:34. > :19:40.celebration, the work and the life of the artist Judith Scott, self-
:19:40. > :19:48.taught, regarded by some as the quintessential outsider artist. Her
:19:48. > :19:58.work as has gained a cult following. She now numbers among her admirers,
:19:58. > :20:05.
:20:05. > :20:10.We ten to think that art is made by artists. So, can something be art
:20:10. > :20:14.if it's made by someone who doesn't call themselves an artist, or even
:20:14. > :20:19.know what art is? These are just some of the tricky
:20:19. > :20:24.questions raised when you consider the work of Judith Scott. Judith
:20:24. > :20:28.died in 2005 age 61, having spent the last 18 years of her life
:20:28. > :20:31.consumed in the making of these strange and powerful objects that
:20:31. > :20:41.you can see around me. But it wasn't only her creations that were
:20:41. > :20:42.
:20:42. > :20:46.extraordinary, her life was, too. She was born in Columbus Ohio in
:20:46. > :20:53.1943, deaf and with Down's syndrome. Her family looked after her until
:20:53. > :20:58.the age of seven when, on doctor's advice, she was institutionalised.
:20:58. > :21:02.But Judith had a twin sister who was perfectly healthy. 35 years
:21:02. > :21:07.after Judith was first locked away, her twin Joyce could bear it no
:21:07. > :21:13.longer and decided to get her out. It must have been very difficult to
:21:13. > :21:20.be apart from your twin for so long? It was very, very difficult.
:21:20. > :21:23.We had always played in the same space, we slept in the same bed. We
:21:23. > :21:28.did absolutely everything together. Yeah, it was terrible. I mean, I
:21:28. > :21:33.think I know very well how terrible it was for me and I can't even
:21:33. > :21:40.imagine how terrible for her, losing everything. What was the
:21:40. > :21:45.institution like that she was in? Can you describe it? Yeah, it was a
:21:45. > :21:53.very frightening place. It was these big old buildings. Something
:21:53. > :21:59.that you would think of in Charles Dickens. Very dark, big, heavy
:21:59. > :22:02.doors. Children bunched together, overheated, sometimes just lying on
:22:02. > :22:05.the floor. It was a really warehouse. When she was in the
:22:05. > :22:12.institution there aren't very many notes about her life there, but I
:22:12. > :22:16.got her ror and one of them is saying -- her records but one is
:22:16. > :22:20.saying that they were letting some children draw and Judy wanted to
:22:20. > :22:24.draw and they thought she was too retarreded and they took the
:22:24. > :22:28.crayons away from her and she left the room crying. It was just so sad.
:22:29. > :22:33.What happened when you got her out? She came to live with us in
:22:33. > :22:37.Berkeley, California. A friend of mine told me about Creative Growth
:22:37. > :22:41.in Oakland, which is for artists with disabilities.
:22:41. > :22:47.I went there, I fell madly in love with the place. When you walk
:22:47. > :22:53.through the door there's just such a sense of creativity and aliveness.
:22:53. > :22:58.It's just a very joyful place and I thought, she has to go here.
:22:58. > :23:01.Creative Growth is a visionary art centre in California where people
:23:02. > :23:07.with mental or psychological difficulties are given total
:23:07. > :23:10.artistic freedom. What kind of work did Judith make
:23:10. > :23:16.when she first arrived? For two years really she did nothing. Then
:23:16. > :23:21.one day she picked up, these are early pieces, she picked up these
:23:21. > :23:25.wood pieces and wrapped them in this chord, fibre and fabric and
:23:25. > :23:28.formed these first totems. If you know about childhood development
:23:28. > :23:32.it's an important time for language to develop in the second year, you
:23:32. > :23:36.become more able to speak. I think she was learning how to speak. She
:23:36. > :23:43.never did have verbal language. This became her language, these are
:23:43. > :23:47.her first words? I think so. From the day she made the first one
:23:48. > :23:53.until she died 20 years later she did it every day non-stop, until,
:23:53. > :23:58.sometimes, her fingers would bleed. How long would it take something
:23:58. > :24:02.like this, then? It depends, a smaller piece like this might take
:24:02. > :24:06.her a few days to a couple of weeks. The very large pieces took
:24:06. > :24:10.sometimes months. She would finish it and then what? When she was
:24:10. > :24:14.finished she would always make this motion like this and push it away.
:24:14. > :24:18.Done! This looks like there's something
:24:18. > :24:22.in here, what's in here? Right, well Judith's process was
:24:22. > :24:26.interesting because she would go around the studio and appropriate
:24:26. > :24:33.objects, which is art speak for steal things. Shadow steal things
:24:33. > :24:38.and bupble them into her pieces and wrap them.
:24:38. > :24:44.These X-rays reveal some of the unusual things Judith buried inside
:24:44. > :24:48.her sculptures. There are a few precious bits, it looks like beads.
:24:48. > :24:53.That, to be honest, looks like someone's wedding ring.
:24:53. > :24:58.Just stuck in the middle of it. For people that had lived in
:24:58. > :25:02.institutions often they want things to be secure and safe. They want to
:25:02. > :25:05.protect things as well. I think she's also using it as the idea of
:25:06. > :25:11.womb or something hidden. She creates these spaoeupbs and these
:25:11. > :25:15.points of tension. She's really -- spines and these points of tension.
:25:15. > :25:18.She's really sewing it and weaving it together. It's not a simple
:25:18. > :25:24.wrapping motion. These works, I mean, we have an exhibition here,
:25:24. > :25:28.all of her work, it's presented as a work of a proper artist, are
:25:28. > :25:31.these works for sale? Do they have monetary value, what happens to
:25:31. > :25:35.these pieces? We're not selling these pieces right now here in
:25:35. > :25:39.London, but her pieces are for sale or have been for sale. All the
:25:40. > :25:44.artist at Creative Growth unless they say no their work goes for
:25:44. > :25:48.sale and the sell of the money goes to the artist to support them.
:25:48. > :25:52.Stkph this retrospective is part of the major show by the Museum of
:25:52. > :25:56.Everything, a unique venture that aims to bring the work of self-
:25:56. > :25:59.taught artists living on society's fringes to a much wider audience.
:25:59. > :26:03.Contemporary thinking has it that art is only art if it's made by
:26:03. > :26:06.somebody who calls themselves an artist. This work doesn't do that,
:26:06. > :26:13.does it? It challenges it. It's a very different thing. When we look
:26:13. > :26:19.at it we know it's art, it seems crazy for me, for any museum or
:26:19. > :26:24.curator to say it isn't art because it lacks art-historical context.
:26:24. > :26:31.Every artist has a story, but the story doesn't come first. They
:26:31. > :26:34.don't say drunk Jackson Pollock! Judith's story is heartbreaking,
:26:34. > :26:43.and astonishing, but actually the best is when you see the work first,
:26:43. > :26:46.don't know the story and then the layers peel back.
:26:46. > :26:52.I don't care if the art world defiance Judith Scott's creations
:26:52. > :26:57.as art or not, I find her pieces compelling and original. Her story
:26:57. > :27:02.incredibly moving. That's enough for me.
:27:02. > :27:11.You can catch Judith Scott's pop-up exhibition at the old self ridge
:27:11. > :27:14.hotel until October 25th. Whether it's through off-shoot Biggss or
:27:15. > :27:17.this giant pavilion Frieze is all about expressing ideas outside of
:27:17. > :27:22.the mainstream. Pierre, hi.
:27:22. > :27:25.I'm glad I tracked you down into this shadowy space, it's quite
:27:25. > :27:29.atmospheric here. This, I'm guessing is your commission, an
:27:29. > :27:32.aquatic theatre? Exactly. We can call it a theatre in a certain way.
:27:32. > :27:37.I don't know,I don't like the word theatre but we can say that.
:27:37. > :27:42.Stkpwhru don't like the word theatre? Because, of course,th it's
:27:42. > :27:48.not a theatre, but there's an animal with a mask, so something
:27:48. > :27:54.going on, it's a kind of stage. You're not hoping they will enact
:27:54. > :27:58.sort of story? They won't, I think. It would be hard? There's no script,
:27:58. > :28:03.there's no narrative, there's no script. There's natural behaviour.
:28:03. > :28:07.It is a fiction because I construct that tank and put them within that
:28:07. > :28:12.condition. But what happens under that condition is real. So it's
:28:12. > :28:15.like you've set some rules, parameters to create an eco-system
:28:15. > :28:21.and then what happens within those rules is that these animals behave?
:28:21. > :28:28.Exactly, as they will do. That's spontaneous? Exactly. Looking at
:28:28. > :28:32.the display within that we can relate to our basic emotion, basic
:28:32. > :28:39.situation that we have previously encountered. Did the her mit crab
:28:39. > :28:43.take to the sleepy muse very easily? Yes, we did some tests on
:28:43. > :28:49.different crabs in New York. you winding me up, you did
:28:49. > :28:54.auditions for hermit crabs? Yeah, this one is a more active one. This
:28:54. > :28:59.one is more active, that is the one, so we picked that one and he just
:28:59. > :29:07.went naturally on the shell. I fine these little creatures, the other
:29:07. > :29:12.ones really quite scary, if you look closely, they have pinsers?
:29:12. > :29:19.Yes they are arrow crabs, they usually heat the bottom of the sea,
:29:19. > :29:25.eat the bottom. What do you say, scavenger Yeah, I wondered if they
:29:25. > :29:28.were the word for the collectors, ska advantage e vepbging around
:29:28. > :29:34.collecting pieces? They might, I don't want to close that
:29:34. > :29:38.interpretation. Clearly there is a golden artwork.
:29:38. > :29:43.Thank you for showing me your aquarium, I feel much calmer now.
:29:43. > :29:47.It's good to have met you, thanks. I do hope those little crabs will
:29:47. > :29:51.be OK. But, you know, despite all this
:29:51. > :29:54.massive ideas and creative energy, you can feel buzzing around at an
:29:54. > :30:00.event like this, do you occasionally hear the odd gripe
:30:00. > :30:03.about the lack of skill, and loss of craft. Personally I think this
:30:03. > :30:09.magnificent contraption is rather brilliantly put together, but for
:30:09. > :30:13.the doubters among us we continue our series of heritage angel awar,
:30:13. > :30:17.week Simon Thurley from English Heritage talks to the men and
:30:17. > :30:23.competing for the craftsmanship category.
:30:23. > :30:27.This is North Somerset, and a Gothic revival splendor built in
:30:27. > :30:31.1863 by the wealthy Gibbs family. But, actually, it's not the house
:30:31. > :30:36.I've come to see, I've come to see something much more modest but in
:30:36. > :30:40.its way equally impressive. The orangery.
:30:40. > :30:46.OK, right now the not looking at its best but when this building was
:30:46. > :30:50.completed in the late 1890s it was the glittering centrepiece of this
:30:50. > :30:54.beautiful kitchen garden. When I first came here in 2003, it was
:30:54. > :30:58.catastrophic. But as you can see, it's now covered in scaffolding and
:30:58. > :31:04.very soon repair works will be complete and it will be restored to
:31:04. > :31:08.its former glory. The orangery was built in 1897 to
:31:08. > :31:13.house exotic plants and fruit. It was part of a huge walled garden
:31:13. > :31:18.which needed an army of gardeners to maintain it.
:31:18. > :31:23.Today an army of stone masons as well as gardeners are hard at work
:31:23. > :31:30.restoring this unique building. The National Trust has initiated a
:31:30. > :31:33.pioneering training proproject with any more bus innovation and young
:31:33. > :31:38.City of Bath students. Presumably you find it inspiring working on
:31:38. > :31:42.it? Definitely. It's the most amazing building I've ever been
:31:42. > :31:47.allowed to get involved on. You've been doing some huge new bits, that
:31:47. > :31:51.looks to me like it's entirely new? Yes, that's completely new and a
:31:51. > :31:57.few like that. I can't take credit for that, I'm afraid. But one of
:31:57. > :32:01.your colleagues can? Yeah, some Carvers. Immaculate. These are the
:32:01. > :32:06.These are the basic hand tools. visitors get a chance to play a
:32:06. > :32:10.part in this great restoration drama. As someone who's always been
:32:10. > :32:19.involved in old buildings but doesn't often get his hands dirty I
:32:19. > :32:23.can't resist having a go myself. It's not as easy as it looks.
:32:23. > :32:26.apparently not. Master mason Mark Sparrow has been involved in the
:32:26. > :32:29.restoration of the orangery from the beginning. What was it like
:32:29. > :32:34.when you first came here? Absolutely frightening. The first
:32:34. > :32:36.time I got up on the scaffolding, I didn't know where to start. The
:32:37. > :32:40.North elevation was gone, there was nothing there for us to work with.
:32:40. > :32:44.We literally had to go back to basics. Do you think it will
:32:45. > :32:48.actually get back to its original state? Absolutely, absolutely. It's
:32:48. > :32:51.really, really well thought out. Once it's water tight it will be
:32:51. > :32:54.fantastic. What will you feel like on the day when you walk in here
:32:54. > :32:58.with all the citrus fruits in blossom? Probably the proudest man
:32:58. > :33:03.in the world I think, along with all my colleagues involved in this,
:33:03. > :33:07.we're very, very proud of it. Another set of unique craft skills
:33:07. > :33:10.came into the play in the restoration of the second building
:33:10. > :33:16.competing in the craftsmanship category.
:33:16. > :33:22.The 16th century Smyth barn in Kent was built by Elizabeth I collector
:33:22. > :33:28.of taxes, Thomas Smyth. Thomas Smyth was a giant of a man
:33:28. > :33:37.and I think probably Elizabeth I was somewhat intimidated by him. He
:33:37. > :33:42.was very, very rich. He wanted to build this barn just to show off.
:33:42. > :33:48.What transformed Smyth's barn into a rural cathedral was its
:33:49. > :33:51.magnificent hammerbeam roof. A roof like this is normally found in a
:33:51. > :33:56.Baronal hall. But this is this was a building obviously meant to
:33:56. > :34:01.impress. The res tors has been lovingly carried out by a team led
:34:01. > :34:04.by carpenter Peter Massie. It's a great privilege to work on
:34:04. > :34:08.something so important. It does give you this sense of the people
:34:08. > :34:11.who have been involved in it historically. I do get that sense
:34:11. > :34:17.when I'm doing a repair that someone was actually looking over
:34:17. > :34:25.my shoulder and saying "I'm not sure I'd quite do it like that" or,
:34:26. > :34:29.yeah, that's a really good way of solving that problem.
:34:29. > :34:34.For centuries Worcester cathedral has stood proud over the river
:34:34. > :34:36.Severn. But its once magnificent 14th
:34:36. > :34:42.century hall where the monks offered hospitality to all those
:34:42. > :34:45.passing through Worcester has now all but disappeared.
:34:45. > :34:48.This is the third building competing for the craftsmanship
:34:48. > :34:54.award. To ensure that this ancient site
:34:54. > :34:57.survives into the next century, the cathedral's team of stone masons
:34:57. > :35:00.have been hard at work shoring it up for the nation. When we first
:35:00. > :35:04.started the hall itself was in danger of collapse. I think the
:35:04. > :35:08.wood lice had done their work. All the joints were just soil, not even
:35:08. > :35:13.mortar. Then it became very apparent that the tracery panel was
:35:13. > :35:17.in a very poor state. In fact, I could have just pushed it over, it
:35:17. > :35:20.was so poor. It was very, very difficult to
:35:20. > :35:25.restore the window. What information I had was very limited,
:35:25. > :35:28.but then I found a postcard. I was really surprised to see they had a
:35:28. > :35:33.picture of the hall and the window itself was intact. Just that
:35:34. > :35:39.postcard alone enabled me to recapture that design. Helping
:35:39. > :35:43.Darren to piece together the jigsaw puzzle had been a team of young
:35:43. > :35:46.apprentices. To be able to work on something that is nearly 700 years
:35:46. > :35:49.old is an experience you don't get very often, not in many other jobs.
:35:49. > :35:53.It's great to be able to work on something where it's visibly
:35:53. > :35:58.obvious what you've done. Every time people come to visit me it's
:35:58. > :36:03."come to see the window". People are really impressed because it's a
:36:03. > :36:09.massive project. It's done and I think it looks great.
:36:09. > :36:14.From the outside, WoodChester mansion in Gloucestershire, the
:36:14. > :36:17.final building on the list, may look like a perfect example of a
:36:17. > :36:23.grand country mansion completed in the fashion I can't believe late
:36:23. > :36:27.Victorian Gothic revival style. But its ghostly interior tells
:36:27. > :36:31.another story. This place hasn't become a ruin, it was always just
:36:31. > :36:39.like this. In fact, it looks exactly the same
:36:39. > :36:43.as it did when it was abandoned mid construction in 1873.
:36:43. > :36:47.It created a tremendous impression in people's imagine who lived
:36:47. > :36:51.locally. It was abandoned, people said it was haunted. There's hardly
:36:51. > :36:55.anybody in the Stroud Valley who didn't climb into this house during
:36:55. > :37:00.their childhood and frighten themselves and run around inity
:37:00. > :37:04.empty, echoing vaulted halls. was built for William Leigh, a
:37:04. > :37:10.wealthy Catholic convert who was such a perfectionist that the house
:37:10. > :37:16.took nearly 20 years just to get to this state. When he died in 1873,
:37:16. > :37:21.the family's fortunes dried up and construction ground to a halt.
:37:21. > :37:24.Now, thanks to the mansion trust work has resumed. Students from the
:37:24. > :37:28.city of Bath college have been given a unique living classroom to
:37:29. > :37:33.work in. I love history, one of the reasonsy
:37:33. > :37:36.went into stone masonry was for the historical side of it, I really
:37:36. > :37:41.wanted to help preserve all our beautiful old buildings. You don't
:37:41. > :37:44.get a better example than this, because it's just a snap shot of a
:37:44. > :37:48.bunch of stone masons who've, they didn't finish the building but we
:37:48. > :37:52.can see how they work and the beauty of what they did. They left
:37:52. > :37:56.all their tools on site. We can see them, we can see all their marks
:37:56. > :38:03.and their genius that they had back then. It's a dying art. We need to
:38:03. > :38:07.preserve buildings like this to understand what they did.
:38:07. > :38:12.Now, from the fundraising efforts of local communities to those of
:38:12. > :38:16.some of London's leading public art galleries. In the public eye is
:38:16. > :38:20.launched at Frieze this year and here is their slightly modest stall
:38:20. > :38:23.looking to raise more than modest amounts of money to supplement
:38:23. > :38:30.increasingly challenged, I fear, budgets of public institutions.
:38:30. > :38:34.Tell me, Julia, what's it all about. Nice to see you. This is a moment
:38:34. > :38:38.where the public sector comes into the private sector. We are holding
:38:38. > :38:42.our own in this incredible art fair with unbelievable examples by some
:38:42. > :38:45.of the greatest artists of today who are selling their work,
:38:46. > :38:48.commissioned by us, all the galleries who are participating for
:38:48. > :38:52.a fraction of the price than they would in the commercial sector. We
:38:52. > :38:56.think this is the best deal on the planet. Tell me, have Frieze
:38:56. > :39:00.donated this stall to you or are you paying them the market rate for
:39:00. > :39:05.it? They have, the group of London galleries asked Matthew and Amanda
:39:05. > :39:10.if they could provide ugs with a booth, which they've done. Here you
:39:10. > :39:13.see works from across a range of London galleries including
:39:13. > :39:15.Serpentine, Whitechapel and it's very exciting to see all this
:39:15. > :39:19.together, the first time we've done this. You see the commercial
:39:19. > :39:23.galleries and then us. Is it not also a slight barometer of
:39:23. > :39:26.recession that you're having to come out, museum directors, the ICA
:39:26. > :39:31.and the Serpentine, having to come out here and say, here we are, we
:39:31. > :39:37.need money? No, we love coming out. It's what we do. If you were going
:39:37. > :39:46.to buy one of your own stand art works, which would you choose?
:39:46. > :39:50.would certainly draw attention to the Pablo Bronstein. I think it's
:39:50. > :39:56.fantastic. A strange post modern tea pot. I have to say, I'm charmed
:39:56. > :40:00.by it. I thoroughly endorse that, however Here comes the Serpentine
:40:00. > :40:09.choice. I have to draw your attention to the Henry sala which
:40:09. > :40:14.is gore yus. -- gore yus gorgeous. How much? �500, a stphip. With the
:40:14. > :40:18.frame? Without the frame. You oeu drive a hard bargain.
:40:18. > :40:22.Thank you. Now, to a rather different kind of
:40:22. > :40:26.donation, brains, earlier this week I visited an exhibition that
:40:26. > :40:35.explores one of the last great taboos, donating your brain to
:40:35. > :40:41.medical science. I'm going to have no more use for
:40:41. > :40:48.this stupid brain of mine, am I? What good is it, they'll only put
:40:48. > :40:51.you in the oven. The brain doesn't work now. The human brain, the
:40:51. > :40:55.least understood and yet the most incredible of all our organs.
:40:55. > :40:58.look at the brain as the biggest computer in the world. You can
:40:58. > :41:01.either go forward or you can go back. I've been through from horse
:41:01. > :41:05.and carts, all the way through to space travel.
:41:05. > :41:10.When we die our brain will inevitably die with us, taking all
:41:10. > :41:13.its secrets and uniqueness with it. I don't mind if I die tomorrow.
:41:14. > :41:17.I've had enough now. But what happens if it doesn't?
:41:17. > :41:21.What if your brain could go on to have a rewarding professional
:41:21. > :41:27.career, long after you're gone? It's not a question that
:41:28. > :41:35.preoccupies many of us, perhaps, but a new exhibition here in the
:41:35. > :41:41.dusty basement of Shoreditch town hall is aiming to change all that.
:41:41. > :41:44.Mind over matter lifts the veil of anonymity from 12 prosecution
:41:44. > :41:48.PCtive brain donors, documenting their lives, their thoughts about
:41:48. > :41:56.death and also suggesting some of the journeys that these people's
:41:56. > :42:01.brains will take after they themselves have departed.
:42:01. > :42:04.The very idea of brain donation conjures Victorian images of body
:42:04. > :42:09.snatchers and brains floating in jars.
:42:09. > :42:15.I said, could they have his brain, I said no. I was so appalled at the
:42:15. > :42:19.thought of them. Just imagine them cutting his head open and, you know,
:42:19. > :42:23.probably sawing it open! The exhibition is filled with
:42:23. > :42:31.fragments of the donors' lives, voices, photographs, memories.
:42:31. > :42:36.I like that one up there, I'm only 18. We were married in April 1974.
:42:36. > :42:41.My husband doesn't dance, so I don't dance with him. Over more
:42:41. > :42:45.than 25 years these donors have had every aspect of their history
:42:45. > :42:48.documented by referendumers investigating cognitive decline.
:42:48. > :42:51.Because brain donation is unlike any other kind of organ donation,
:42:51. > :42:55.it's no use to science without also the knowledge of your histories.
:42:55. > :42:59.The thing that really makes brain donation so special, you don't just
:42:59. > :43:03.give your brain, in a sense, you give your life.
:43:03. > :43:12.This exhibition has been three years in the making. It's the
:43:12. > :43:15.result of a unique collaboration between artist any yafplt and
:43:15. > :43:19.social signtivity Briton win. What would be your measure of success
:43:19. > :43:24.for the show? Would it be, for example, I would visit and think, I
:43:24. > :43:29.must consider my donating my brain? I'm sure they are always interested
:43:29. > :43:35.in a quality brain, which I've no doubt you have, Andrew, but for us
:43:35. > :43:38.the marker of success isn't really necessarily increasing large number
:43:38. > :43:42.of donations to brain programmes, although that would be a very
:43:43. > :43:47.useful output. But I think more it's to rehabilitate people's
:43:47. > :43:53.conception, or whole notion of the idea of bodily donation, which
:43:53. > :43:59.became terribly maligned. When you first did visit a brain bank, what
:43:59. > :44:03.was your response? We were walking through all these rooms with lab
:44:03. > :44:09.assistants, working with their microscopes and various machines,
:44:09. > :44:16.but other than that it looked like an ordinary hospital floor.
:44:16. > :44:20.Eventually we were taken to this basement with lots of freezers,
:44:20. > :44:24.again, nothing that unusual except the temperature was very low, minus
:44:24. > :44:29.18 degrees. Then the freezer door opened and there were lots of boxes,
:44:29. > :44:33.lots of boxes which looked like little take away boxes and then
:44:33. > :44:39.suddenly I realised these are brains, these are human brains.
:44:39. > :44:44.There is some kind of I was transfixed just, at the power of
:44:44. > :44:48.what you were describing, the brain, realising how unusual and how
:44:48. > :44:56.different and how Royal the brain is amongst all the other organs
:44:56. > :44:59.that we have. Is part of the aim of the collaboration to give a kind of
:44:59. > :45:06.human story to the subject as it were? Yeah, absolutely. I think one
:45:06. > :45:11.of the key things about this project is not to see this as some
:45:11. > :45:16.cold artefactalised material, slides or bits of broken brain that
:45:16. > :45:19.comes from who knows where, but that they are connected back to an
:45:19. > :45:25.individual, who had a life, a whole host of complex experiences, to see
:45:25. > :45:28.it as a journey or trajectory. Dementia, from the Latin meaning
:45:29. > :45:32.without and meaning mind. Current figures predict that more
:45:32. > :45:35.than one in five of us will be suffering from dementia by the end
:45:35. > :45:39.of our lives. Terrible disease, I don't know where they are, they
:45:39. > :45:43.don't know who they are. They don't even know their partners who
:45:43. > :45:50.they've been with. I think it's a terrible thing. To lose your memory.
:45:50. > :45:59.My husband is around, he's still around, isn't he, Alan? Not minimum.
:45:59. > :46:03.When did he die? 30 years ago. Don't hear from him.
:46:03. > :46:07.These 12 brains will go some way to helping scientists understand this
:46:07. > :46:14.complex disease. Dementia is like a strand of pearls
:46:14. > :46:19.in a way, what remains in the enare these little polished orbs, glowing
:46:19. > :46:24.with the perfect memory of a series of discreet event but they're quite
:46:24. > :46:30.a way away from each other and all that's left in the middle a bit of
:46:30. > :46:33.rather brown grubby string that holds the whole thing together.
:46:33. > :46:37.Ania has helped me understand the nature of memory, how we remember
:46:37. > :46:42.things, what gets remembered, what gets retain and what gets lost. Why,
:46:43. > :46:46.and that's been incredibly helpful for me.
:46:46. > :46:49.Rowland Bart once said every photograph is like a little death.
:46:49. > :46:53.It preserves a slice of time, a moment of life that will never be
:46:53. > :46:57.repeated, that can never be the same again. I think that's why
:46:57. > :47:01.photography lies at the heart of this exhibition, it's a way of
:47:01. > :47:05.making you think about human life, memory, what it is that a brain
:47:05. > :47:12.houses. I'm stuck in here, there's nothing
:47:12. > :47:15.the matter with me. It's just age...
:47:15. > :47:19.Mind over matter runs until October 23rd at Shoreditch town hall.
:47:19. > :47:23.Now, this section of the fair is known as Frame. It's supposed to be
:47:23. > :47:27.the rough independenty part. I think the give away is the
:47:27. > :47:31.cardboard signs and the industrial flooring. The point of Frame is
:47:31. > :47:37.that it's dedicated to solo artist, shown by galleries who have been
:47:37. > :47:41.running for less than six years. One such artist is chana. Good to
:47:41. > :47:47.meet you, I'm Alistair. I hope you'll forgive me for saying this
:47:47. > :47:50.on camera but my first question is Frame is all about thrusting young,
:47:50. > :47:56.emerging galleries and of course, I think you're almost 80, I wondered
:47:56. > :48:00.how come you're making a UK debut as part of Frame? It's part of a
:48:00. > :48:05.full circle. I'm getting older and they're young. I see!
:48:05. > :48:09.Tell me a little bit about your work, then. Looking around it seems
:48:09. > :48:15.like it's quite mathematical? Actually, I'm very bad at maths.
:48:15. > :48:18.Terrible at it. What are you do doing making work like this? It's
:48:18. > :48:25.logic, I don't think logic is maths, I just think of it as questions and
:48:25. > :48:28.searching and answers. I ask all the questions that I can of my work.
:48:29. > :48:31.Answer for an answer but I really don't want an answer, I want more
:48:31. > :48:35.questions. I see. Well I've got another
:48:35. > :48:39.question then, which is, if you're looking at something like this,
:48:39. > :48:44.what's the starting point? What are those marks telling us, how do they
:48:44. > :48:49.relate to logic, in a simple way what do we see? What I'm doing,
:48:49. > :48:54.that's a cancellation booth, as it goes up it gets less. I challenge
:48:54. > :48:59.that piece, saying no two lines can be one over the other. I just kept
:48:59. > :49:03.eliminating until the very top. has it taken you so long to show in
:49:03. > :49:10.Britain? Because nobody found me. I was busy working in my studio. I
:49:10. > :49:14.have a lot of work but I have not been exposed through galleries. I
:49:14. > :49:18.didn't know if I ever would and that's all right. Tell me more
:49:18. > :49:23.about Frame itself. What are you hoping to get out of being part of
:49:23. > :49:28.Frame? Well, I just love the exposure in England. I love the
:49:28. > :49:32.fact that my gallery is here. it's been a renaissance for you?
:49:32. > :49:36.Absolutely. Was there a period when you felt you were in the
:49:36. > :49:40.wilderness? Totally, most of the time. How long? 20 years. Wow! This
:49:40. > :49:43.is a big deal, for you this is tapping right back into the market?
:49:43. > :49:48.Absolutely, absolutely. I hope you find a great number of buyers to
:49:48. > :49:52.come and, well, make this a sellout show? That would be, from your
:49:52. > :49:57.mouth to God's ears. It's been really great to meet you, thank you.
:49:57. > :50:00.Good to meet you, too. That's the thing about Frieze, because the
:50:00. > :50:04.fair draws so many of the biggest and most important collectors of
:50:04. > :50:08.contemporary art from all over the world, lots of other museums and
:50:08. > :50:12.galleries mount their own special exhibitions at the same time. We
:50:12. > :50:22.sent resident film supremo Mark Kermode to give his own special
:50:22. > :50:26.
:50:26. > :50:30.take on one of the biggest art openings of the week.
:50:30. > :50:36.I'm off to a screening, it's not my usual kind of screening, not my
:50:36. > :50:39.usual kind of film, but given my broad-minded open attitude to all
:50:39. > :50:44.things celluloid, I'm looking forward to the challenge. Today's
:50:44. > :50:54.screening is probably the biggest I've ever been to.
:50:54. > :50:56.
:50:56. > :51:01.I'm sure they don't sell popcorn there!
:51:01. > :51:05.I'm here at Tate Modern because the new Turbine Hall commission is for
:51:05. > :51:09.the first time a film by visual artist Tacita Dean. Well, how to
:51:09. > :51:13.begin to describe it? It's like celluloid as architecture, it's
:51:13. > :51:15.like a huge celluloid strip, like a building, like the monolith from
:51:15. > :51:18.2001. The first thing you notice,
:51:18. > :51:22.obviously, is that cinema is usually landscape, that's turned it
:51:22. > :51:27.on its side to make it portrait shape. The other thing that adds to
:51:27. > :51:31.the immense power of the piece is just how big it is.
:51:31. > :51:35.Tacita Dean made her name when she was nominated for the Turner Prize
:51:35. > :51:39.in 1998. She's best known for her intimate
:51:39. > :51:48.16mm films which range from the depiction of seascapes to port
:51:48. > :51:51.rates of artist in their old age like poet Michael Hamburger or
:51:51. > :51:54.Merce Cunningham. Her latest work film here at the Turbine Hall is
:51:54. > :51:59.altogether to a different kind of port trait but something that might
:51:59. > :52:03.also be near the end of its life. So, Tacita, here in the Turbine
:52:03. > :52:10.Hall, which is a massive space, great opportunity for an artist but
:52:10. > :52:14.also a possibility of risk, how did you approach it? With trepidation.
:52:14. > :52:19.I was very surprised that they asked me, I'm someone who's not
:52:19. > :52:23.known for my larger works. I'm an artist that used to work more
:52:23. > :52:27.intimately. So, it was a radical change for me. Koefrps, I just had
:52:27. > :52:30.to work infewtively and my first impression it had to be, whatever I
:52:30. > :52:34.had to do had to be portrait format like the space, then it became
:52:34. > :52:39.about trying to make that possible within the medium, within film.
:52:39. > :52:42.The hall itself has defined the shape of the installation. As far
:52:42. > :52:48.as the content is concerned, you've talked in the past about filming a
:52:48. > :52:52.lot to fine a little. Has that been the same with this and how did you
:52:52. > :52:55.choose the images? It came about when I had the portrait format but
:52:55. > :52:59.I didn't know what it was a portrait of what, for a very long
:52:59. > :53:04.time. For a certain time I started to pick out my portrait post cards
:53:04. > :53:09.of when they were water fals and steps and things like that. I added
:53:09. > :53:12.them up and after a while I realised it was a portrait of the
:53:12. > :53:16.medium, the film itself. Then after I had that, it was a portrait of
:53:16. > :53:19.the Turbine Hall. So it was a combination of a portrait of about
:53:19. > :53:24.this place, well for this place, it was only ever going to be for this
:53:24. > :53:29.place and then with the holes. I realised it was a strip of film, it
:53:29. > :53:33.was very simple. It was that revelation. What about the fact
:53:33. > :53:37.that you've shot here in the hall, it's like you're looking through a
:53:37. > :53:42.film to see the hall behind with images moving in front of it?
:53:42. > :53:48.I'm glad you think that I did shoot in the hall. Did you not? It's
:53:48. > :53:52.infect? It's a fiction, it's cinema. This is all made with early film
:53:52. > :53:55.techniques. There's no digital post-production in this film
:53:56. > :54:02.whatsoever. You used to make images and films in the studio and all
:54:02. > :54:06.that magic happened then. Now it's just like, "we'll do it later".
:54:06. > :54:09.disappearance of celluloid film and the loss of over a century of
:54:09. > :54:14.skilled craftsmanship is something that Tacita Dean has explored in
:54:14. > :54:19.other works. For her 2006 piece, Kodak, she filmed the last
:54:20. > :54:24.manufactured raoels of Kodak's black and white 16mm films.
:54:24. > :54:26.Reels. One of the things you talk about is
:54:26. > :54:30.the idea that film should be remembered as silent, that the
:54:30. > :54:33.images is primary, that sound is always put on afterwards, it's
:54:33. > :54:36.something which is added artificially. Your previous works
:54:36. > :54:40.have talk about that art fis of sound. How prpb is it for people to
:54:40. > :54:44.be watching a silent image and be reminded this is where cinema comes
:54:44. > :54:47.from? I thought hard about it, actually. I thought this space has
:54:47. > :54:52.such an acoustic that it has its own sound-track.
:54:53. > :54:57.I love the silence of this film. It was a good decision. To remember
:54:57. > :55:01.the silence of film is much more difficult now with digital because
:55:01. > :55:07.they always, it always comes with sound. To have known your image as
:55:07. > :55:11.silent is a wonderful thing. Sound plays an important role in
:55:11. > :55:21.Tacita Dean's work. The sound- tracks of her previous works appear
:55:21. > :55:26.real, yet they are laboriously constructed by the artist. In her
:55:26. > :55:33.1996 installation Foley artist she drew attention to how sound effects
:55:33. > :55:36.are created and influence our perception of real sound.
:55:36. > :55:39.Because the sound of this hall is so distinctive, even as we're
:55:39. > :55:42.talking I can hear the sound of the hall around us, how do you want
:55:42. > :55:47.people to be in this space, do you want them to be quiet and watch it,
:55:47. > :55:50.or talk? No, no, I'm not prescriptive like that, if you go
:55:50. > :55:56.close to this image you can see this flood of grain an hope people
:55:56. > :56:01.will not just take the seat at the back but move around the space and
:56:01. > :56:07.be absorbed by the actual movement within the stillness. One of the
:56:07. > :56:10.concerns of this installation, your work in general, is the difference
:56:11. > :56:15.between film and digital imaging and celluloid is fast becoming
:56:15. > :56:19.obsolete. This is something about which Europarksate. What's
:56:19. > :56:22.important about celluloid? Film is an entirely different medium from
:56:22. > :56:26.digital. For some reason there's an assumption that digital can take
:56:26. > :56:30.over from film and it can't, of course, they're totally different
:56:30. > :56:34.medium. The two should be allowed to co-exist, we wouldn't do the
:56:34. > :56:38.same with another medium, we wouldn't get rid of oil painting
:56:38. > :56:42.and replace it with acrylic,the Turbine Hall is a huge platform and
:56:42. > :56:46.I had to make this project about fighting for the medium that we are
:56:46. > :56:50.just about to lose. We've had this for over 100 years, we won't be
:56:50. > :56:53.able to see our history of film as film unless we do something
:56:53. > :56:56.quicklyly. I wish you all the best, it's a
:56:56. > :57:03.very noble cause and it's a great installation, congratulations.
:57:03. > :57:06.Thank you. That's all for tonight. Next
:57:06. > :57:12.Tuesday Tim Samuels visits the residents of couplery in Perthshire
:57:12. > :57:17.to get their lowdown on this year's short list for the Man Booker Prize
:57:17. > :57:25.in a Culture Show Special. We'll be back next Friday with the star of
:57:25. > :57:33.the Killing, the new take on 1984 and the show at the Heywood. But we
:57:33. > :57:39.leave you with one final Frieze project from lucky PDF who are
:57:39. > :57:43.broadcasting live. In the daytime the young brunette
:57:43. > :57:53.comes out of a car and approaches a team working in the garage.
:57:53. > :58:02., The brunette bashes on a red metal shutter and gives a peace
:58:02. > :58:10.sign as it opens. A man pushes a TV displaying test bars past a sheet
:58:10. > :58:16.bearing the silhouette of two palm trees.
:58:16. > :58:21.This is princess dollar for lucky PDF TV. Wearing sun glasses the
:58:21. > :58:26.brunette is now performing to a hand held camera.
:58:26. > :58:33.Hi, kids, doul like princess, introducing Her Majesty... Against
:58:33. > :58:38.the green-painted backdrop a man and woman perform abstract dance
:58:38. > :58:43.moves. Princess Donna's hair is being blown by a wind machine as
:58:43. > :58:50.she dances. The young film crew move a studio monitor. A guy turns
:58:50. > :58:55.a bright key light. Lucky PDF TV. A woman in a
:58:55. > :59:01.patterned cat suit desends some steps.
:59:01. > :59:05.Join us at Frieze for lucky PDF TV. She winks and goes and a man with a
:59:05. > :59:09.beard circles each foot in turn around a bird ornament on the floor.