Episode 12 The Culture Show

This has become the contemporary art world's favourite shopping Mall.

Also tonight, Anahita Razmi heads to the roof-tops to meet Anahita

Razmi. Miranda explores the extraordinary

life and work of sculptor Judith Scott.

And Simon visits the craftsmen behind some of Britain's re stored

historic gems. It's not as easy as it looks.

Mark Kermode attends the biggest screening of the week.

And I'll be looking into the human brain.

First, the Frieze sculpture park with an interestingly varied

collection of works by internationally ail claimed artists

all set in the regent park. You'd need an invite, a special

invite to attend the main fair on day one. Alistair joined the chosen

few for this private view. It's estimated that up to 80% only

come to speck Tate, will you today is all about everyone belonging to

that other cash-laden 20%, the buyers. It's these people that the

German artist Christian Jankowski probably had in mind when he was

commissioned to create a new piece for the fair. We meet him last week

before he sailed into Frieze. One of the most controversial and

costly art works up for grabs this year at Frieze Art Fair won't be

made in an artist's studio or warehouse, it will be built here,

on Italy's Adriatic coast. You might not instantly recognise it as

art. A gigantic superyacht, like this

one behind me, will be available to buy in London. Either as a luxury

boat, or an artwork. It's exactly the same thing but has a really

different price tag. As a luxury yacht it's yours for 65 million

euro. As an artwork it's a handsome 75 million. It's a 10 million euro

mark-up. We're talking about a lot of money.

The project is the brain child of brazen German artist Christian

Jankowski. Jankowski's art has a sharp sense of humour. For a recent

video piece he persuaded a panel of Vatican insiders to audition the

part of Jesus. They're made to perform a series of

X-Factor-like biblical challenges before a winner is picked.

I can't believe that the Vatican let you do that, how did you

convince them? I met many people over the period of three months and

the higher I got the easier it was to talk to them and then they said

yes. It would have been nice if the Pope had been in it, no? Of course,

yeah. I've asked Christian to explain his yacht idea out on the

deck of a borrowed boat to find out a bit more. And experience a bit of

the luxury living that awaits potential buyers. It's really weird

how really wealthy people always go to white, it obviously shows that

you can have things cleaned regularly. Let's get going.

Tally ho. So, this artwork, what do I get for

the extra 10 million that makes it an artwork? You get my name is

control letters and I give my name to this boat. Of course, you get an

artwork, a different thing than it was before, it's not just a boat

but an artwork. When you get the whole concept of it, you see that,

it is a new statement, you are not only the rich collector that does

something, but you also are a co- author, that is crazy enough to

spend 10 million more to be part and put something on earth that is

an artwork like a media, at the same moment it's a sculpture, use,

to play with, to confuse other people and bring them into new

discussions and perspectives about it. So the only addition you've

made to the boat physically is the labeling? Yeah. You decided not to

make any other aesthetic decisions or choose any features to be added

to the boat? No, first when I started talking to the shipbuilders

about this idea there was this, you know, the wish also to produce

something inside the boat, to do something with it, to somehow make

it more arty. But I had to explain very carefully that it's very

important that it stays as this concept. If you're charging 10

million for it as an artwork, you're putting yourself up there

with Picasso and the great Masters? Why not? It's not what Picasso had

in the first place, also that value has only been created by dialogue

by artists by the market. Christian's work also asks awkward

questions about the economic and symbolic value of art. In his 2009

piece, Strip The Auctioneer, a Christie's employee sells off his

belongings to the highest bidder as part of a performance piece.

A lot of your projects seem to be really elaborate in the

organisation of them. There's something quite ballsy about them,

I imagine they need quite a lot of confidence to be able to pull them

off. Upbgs? Yeah, I think you might. You think so? Yeah, I think you

might. It's a simple idea, you have the partners, the collaborators,

and koefrgs of course they offer awe lot more options to work with

them. . His collaborator on this project

is Luca Boldrini, the brand manager of the super yacht company

Christian is working with. Luca Boldrini will be trying to sell the

artwork at Frieze. OK, you're the sales director of

the company and you'll be selling this at Frieze, sell it to me as an

artwork. Normally a piece of art doesn't lose value but gains value

throughout the years. Many of our collectors they have something

hanging on the wall, on the studio or they can see something in a

museum, but in this case they can be evolved into the piece of art,

they can use the piece of art, they can enjoy it, they can share it.

With many different people. It's quite a bombastic project that

could irritate the general public, I think. It might get a lot of

criticism. There's the usual criticisms, I could do that or is

it art? Yeah, but when you're on the art fair, especially Frieze you

have those people coming by, you've those people who already own yachts,

if you already collect a couple of yachts, you know, why not? It

brings immediately a dialogue with everything that happens on Frieze

commercially. It's for me, the boat isn't the artwork, you doing it is

the artwork. I see it as you trying to get away with selling a boat as

an artwork. It's both at the same time. The performance aspect is as

important as the sculpture. Both of it is needed. Without boat, no

story. But the story isn't quite complete. At the moment there is no

boat. Because these superyachts are so massively expensive, Christian's

main artwork won't actually be built until the collector hands

over the dosh. Instead, this smaller yacht will be on display at

Frieze. It, too, can be bought as either a boat or as a work of art,

but comes free if you buy the superyacht. Physically there's very

little to go on, it's all about the concept. What do you mean by very

little to go on, there is so much to offer, in the moment you're at

Frieze fair you're standing in front of a crazy, great sculpture,

you see the salesperson that normally sells boats. Of course in

the end it's an idea, but what else should there be but an idea in the

beginning? Do you think it will sell? I don't know. Well, what

percentage would you say? I would say right now it's a 50-50. If the

boat does sell and the collector who buys it asks you to curate the

works on board, would that be something you would consider?

I would love to do that, yeah. Would you ask for another fee? Or

is that part of the deal? Let me think about it.

If we're honest there aren't too many of us who could even dream of

affording Christian's work but there are plenty of other

commissions here at Frieze for us to enjoy by a whole range of

international contemporary artist. One who takes a much more poignant

position is the winner of the emdash award, Anahita Razmi who has

made a very powerful dance piece exploring political unrest on the

roof-tops of Iran. We went along to meet her in the

final stages of production. We deliberately blurred the faces of

the dancers to deliberately protect their identity.

This year the artwork commission is unlike any other in Frieze. The

organisers had to keep it a secret and no publicity was even allowed

until very recently. The artist herself risked not only turning up

empty hand,ed she could have gone to prison.

Anahita Razmi is a German-Iranian conceptual artist. For this year's

Frieze Art Fair she's created a video installation which addresses

the violent protests which shook Iran during the 2009 presidential

election. Because no foreign media was

allowed, the main coverage came from people using their mobile

phones, which were uploaded to the internet at high personal risk.

In 2009 they were going at night to the roof-tops to somehow do a night

protest. They were shouting "death to the dictator". It was somehow

echoing through the city. There's a great photograph from the world

press photo as well? Yes, a woman standing on a roof-top in Tehran at

night, shouting. It got really known.

These women on the roof-tops reminded Anahita of an earlier

dance piece Shadow seen set on the roof-tops in New York. The

Roofpiece by American choreography, Tricia Brown it was the fusion of

these images which gave birth to her current work. In Trisha Brown's

1971 piece, 12 dancers were placed on 12 different roof-tops. They

transmitted improvised movements from one dancer to the next, a bit

like Chinese whispers. I was always intrigued by that performance

somehow. At some point these two contexts came together, but it was

somehow linking In My Head and saying, OK, to do something like a

re-enactment of this performance in like present Tehran would be

something that really makes sense. This is not the first time that

Anahita has taken the work of other artists as a starting point. In

2008 she was inspired by Tracey Emin's photograph, I've got it all.

She created an alternative version by replacing bank-notes and coins

with monopoly moneyy and casino chips to highlight the futility of

money. A lot of your work is inspired by,

or pays tribute to existing works. Yeah. What's the appeal of that for

you? I quite like this idea of taking some work, is it, an artist

and then making a connection, for example, like taking this to Iran,

it's not so much about critiqueing something or somebody but taking it

as a reference can be quite an honour.

But the reenactment of Trisha Brown's piece was fraught with

problems. As if filming in Iran wasn't dangerous enough, Anahita

also had to deal with the Government's strict control of

artistic expression, specifically dance, which is legally banned in

Iran. When we were shooting this on the

roof, we were dancing, we were not shouting, we are not making any

protest movements like, OK, we, it is something that is somehow

political but it becomes political in the end, not while we were doing

it. I was working with professional dancers in Tehran, which you can

find. It's a small community, but you can find them. It's a very

underground thing, even doing the performance on the roofs, which

roofs do you go to? You have to ask people and you have to ask them

with an issue that is quite problematic. Were you scared,

because there were journalists who have been locked up for doing, for

being a journalist in Iran. If they found what you were doing, what

might have happened? I could for sure say there is a risk in doing

something like that. It definitely could have been that we couldn't

have succeeded at all. You had a commission so, if it hadn't

happened what would you have brought? When being in Tehran I was

like, OK, I'm going to stay here until we've done it.

Anahita has been working on the footage from the 12 different

cameras in a studio in South London. Tell me how it works then. You have

all these different cameras and footage. How have you assembled it?

Basically, you can see it on the screen here because there are 12

different cameras, each showing one dancer. That's dancer number one.

The movement is translated to dancer number two here and number

three picks up. It's almost like a ripple? Yeah, yeah. Which screen is

this one? That is number 12, actually. The last one? The last

one. It's pretty much the view of the city. There is the tower, which

is quite a site in the city. terms of the geography of the roofs,

how far apart were they? Were they all next to each other? There were

some roofs which were quite close but we also had some very long long

distance connections and it was hard for the dancers to pick up the

movement and even seeing each other. Was it a straight line, dancer to

another? No, not really. We had to work with the roofs we could get.

How are you going to transfer this now to Frieze? I can show you on

the map. So, you see a map, an architectural

map of Frieze Art Fair. We will have 12 screens and there will,

they will be located throughout the fair. It is possible, somehow,

while walking around that you can make connections from one screen to

the other. It's quite strange, though, isn't it, because your work

is being shown in a place which will be full of commercial art.

It's a bit of a contradiction? but I quite enjoy this

contradiction for the piece. Because, in Tehran while we were

doing the performance, of course, we couldn't have an audience, so

this contradiction from doing this gorilla act and then going there to

this art fair with this, maximum commercial audience, is such a nice

contradiction in a way. I really enjoy having the piece there.

Now, there's a rather beautiful slither of that piece playing

behind me. But now, from the roof-tops of

Tehran, to a bar in a Romanian castle.

The bar is the creation of Pelesh empire.

Here it is. It's intoxicating. I don't know

who's witch. I'm bar bra Katrina. What's this all about? I feel like

I suddenly walked into some weird hall of mirrors, everything is

distorted. The images are supposed to look like you already had a

drink. When did you first start the idea of this? It's actually, our

project Pelesh empire is based on the Romanian castle, which is a

130-year-old, quite young castle, that combines different

architectural styles, Renaissance copies, art Deco. This is based on

an image we took last summer. this is a back reference to our own

history. When we started in a Frankfurt, we opened a weekly salon

open to the public, it was in our own living rooms. So you were

playing games in your own living rooms with reproductions, were are

you creating this wall paper of photograph graphic distortion at

that? Our first one we lived in the red-light district, we captured the

first from the castle which was the prince's bedroom. That reference.

So it's your own kind of portable castle and you take it with you and

recreate it in different places but it's seen through a filter of

distortion and change. Yes, we like the shift in materiality that when

you're standing quite far away from it you first don't see, is this

real or fake, then when you come closer, you see the marks of the

step forbd A3 sheets. So, it's all about perception being distorted

and filtered, which is kind of what happens when off drink, right.

Exactly, that's why the bar concept fits well. Thank you, what do we do

now, have a drink? Yes. Cheers. Now for a different kind of

celebration, the work and the life of the artist Judith Scott, self-

taught, regarded by some as the quintessential outsider artist. Her

work as has gained a cult following. She now numbers among her admirers,

We ten to think that art is made by artists. So, can something be art

if it's made by someone who doesn't call themselves an artist, or even

know what art is? These are just some of the tricky

questions raised when you consider the work of Judith Scott. Judith

died in 2005 age 61, having spent the last 18 years of her life

consumed in the making of these strange and powerful objects that

you can see around me. But it wasn't only her creations that were

extraordinary, her life was, too. She was born in Columbus Ohio in

1943, deaf and with Down's syndrome. Her family looked after her until

the age of seven when, on doctor's advice, she was institutionalised.

But Judith had a twin sister who was perfectly healthy. 35 years

after Judith was first locked away, her twin Joyce could bear it no

longer and decided to get her out. It must have been very difficult to

be apart from your twin for so long? It was very, very difficult.

We had always played in the same space, we slept in the same bed. We

did absolutely everything together. Yeah, it was terrible. I mean, I

think I know very well how terrible it was for me and I can't even

imagine how terrible for her, losing everything. What was the

institution like that she was in? Can you describe it? Yeah, it was a

very frightening place. It was these big old buildings. Something

that you would think of in Charles Dickens. Very dark, big, heavy

doors. Children bunched together, overheated, sometimes just lying on

the floor. It was a really warehouse. When she was in the

institution there aren't very many notes about her life there, but I

got her ror and one of them is saying -- her records but one is

saying that they were letting some children draw and Judy wanted to

draw and they thought she was too retarreded and they took the

crayons away from her and she left the room crying. It was just so sad.

What happened when you got her out? She came to live with us in

Berkeley, California. A friend of mine told me about Creative Growth

in Oakland, which is for artists with disabilities.

I went there, I fell madly in love with the place. When you walk

through the door there's just such a sense of creativity and aliveness.

It's just a very joyful place and I thought, she has to go here.

Creative Growth is a visionary art centre in California where people

with mental or psychological difficulties are given total

artistic freedom. What kind of work did Judith make

when she first arrived? For two years really she did nothing. Then

one day she picked up, these are early pieces, she picked up these

wood pieces and wrapped them in this chord, fibre and fabric and

formed these first totems. If you know about childhood development

it's an important time for language to develop in the second year, you

become more able to speak. I think she was learning how to speak. She

never did have verbal language. This became her language, these are

her first words? I think so. From the day she made the first one

until she died 20 years later she did it every day non-stop, until,

sometimes, her fingers would bleed. How long would it take something

like this, then? It depends, a smaller piece like this might take

her a few days to a couple of weeks. The very large pieces took

sometimes months. She would finish it and then what? When she was

finished she would always make this motion like this and push it away.

Done! This looks like there's something

in here, what's in here? Right, well Judith's process was

interesting because she would go around the studio and appropriate

objects, which is art speak for steal things. Shadow steal things

and bupble them into her pieces and wrap them.

These X-rays reveal some of the unusual things Judith buried inside

her sculptures. There are a few precious bits, it looks like beads.

That, to be honest, looks like someone's wedding ring.

Just stuck in the middle of it. For people that had lived in

institutions often they want things to be secure and safe. They want to

protect things as well. I think she's also using it as the idea of

womb or something hidden. She creates these spaoeupbs and these

points of tension. She's really -- spines and these points of tension.

She's really sewing it and weaving it together. It's not a simple

wrapping motion. These works, I mean, we have an exhibition here,

all of her work, it's presented as a work of a proper artist, are

these works for sale? Do they have monetary value, what happens to

these pieces? We're not selling these pieces right now here in

London, but her pieces are for sale or have been for sale. All the

artist at Creative Growth unless they say no their work goes for

sale and the sell of the money goes to the artist to support them.

Stkph this retrospective is part of the major show by the Museum of

Everything, a unique venture that aims to bring the work of self-

taught artists living on society's fringes to a much wider audience.

Contemporary thinking has it that art is only art if it's made by

somebody who calls themselves an artist. This work doesn't do that,

does it? It challenges it. It's a very different thing. When we look

at it we know it's art, it seems crazy for me, for any museum or

curator to say it isn't art because it lacks art-historical context.

Every artist has a story, but the story doesn't come first. They

don't say drunk Jackson Pollock! Judith's story is heartbreaking,

and astonishing, but actually the best is when you see the work first,

don't know the story and then the layers peel back.

I don't care if the art world defiance Judith Scott's creations

as art or not, I find her pieces compelling and original. Her story

incredibly moving. That's enough for me.

You can catch Judith Scott's pop-up exhibition at the old self ridge

hotel until October 25th. Whether it's through off-shoot Biggss or

this giant pavilion Frieze is all about expressing ideas outside of

the mainstream. Pierre, hi.

I'm glad I tracked you down into this shadowy space, it's quite

atmospheric here. This, I'm guessing is your commission, an

aquatic theatre? Exactly. We can call it a theatre in a certain way.

I don't know,I don't like the word theatre but we can say that.

Stkpwhru don't like the word theatre? Because, of course,th it's

not a theatre, but there's an animal with a mask, so something

going on, it's a kind of stage. You're not hoping they will enact

sort of story? They won't, I think. It would be hard? There's no script,

there's no narrative, there's no script. There's natural behaviour.

It is a fiction because I construct that tank and put them within that

condition. But what happens under that condition is real. So it's

like you've set some rules, parameters to create an eco-system

and then what happens within those rules is that these animals behave?

Exactly, as they will do. That's spontaneous? Exactly. Looking at

the display within that we can relate to our basic emotion, basic

situation that we have previously encountered. Did the her mit crab

take to the sleepy muse very easily? Yes, we did some tests on

different crabs in New York. you winding me up, you did

auditions for hermit crabs? Yeah, this one is a more active one. This

one is more active, that is the one, so we picked that one and he just

went naturally on the shell. I fine these little creatures, the other

ones really quite scary, if you look closely, they have pinsers?

Yes they are arrow crabs, they usually heat the bottom of the sea,

eat the bottom. What do you say, scavenger Yeah, I wondered if they

were the word for the collectors, ska advantage e vepbging around

collecting pieces? They might, I don't want to close that

interpretation. Clearly there is a golden artwork.

Thank you for showing me your aquarium, I feel much calmer now.

It's good to have met you, thanks. I do hope those little crabs will

be OK. But, you know, despite all this

massive ideas and creative energy, you can feel buzzing around at an

event like this, do you occasionally hear the odd gripe

about the lack of skill, and loss of craft. Personally I think this

magnificent contraption is rather brilliantly put together, but for

the doubters among us we continue our series of heritage angel awar,

week Simon Thurley from English Heritage talks to the men and

competing for the craftsmanship category.

This is North Somerset, and a Gothic revival splendor built in

1863 by the wealthy Gibbs family. But, actually, it's not the house

I've come to see, I've come to see something much more modest but in

its way equally impressive. The orangery.

OK, right now the not looking at its best but when this building was

completed in the late 1890s it was the glittering centrepiece of this

beautiful kitchen garden. When I first came here in 2003, it was

catastrophic. But as you can see, it's now covered in scaffolding and

very soon repair works will be complete and it will be restored to

its former glory. The orangery was built in 1897 to

house exotic plants and fruit. It was part of a huge walled garden

which needed an army of gardeners to maintain it.

Today an army of stone masons as well as gardeners are hard at work

restoring this unique building. The National Trust has initiated a

pioneering training proproject with any more bus innovation and young

City of Bath students. Presumably you find it inspiring working on

it? Definitely. It's the most amazing building I've ever been

allowed to get involved on. You've been doing some huge new bits, that

looks to me like it's entirely new? Yes, that's completely new and a

few like that. I can't take credit for that, I'm afraid. But one of

your colleagues can? Yeah, some Carvers. Immaculate. These are the

These are the basic hand tools. visitors get a chance to play a

part in this great restoration drama. As someone who's always been

involved in old buildings but doesn't often get his hands dirty I

can't resist having a go myself. It's not as easy as it looks.

apparently not. Master mason Mark Sparrow has been involved in the

restoration of the orangery from the beginning. What was it like

when you first came here? Absolutely frightening. The first

time I got up on the scaffolding, I didn't know where to start. The

North elevation was gone, there was nothing there for us to work with.

We literally had to go back to basics. Do you think it will

actually get back to its original state? Absolutely, absolutely. It's

really, really well thought out. Once it's water tight it will be

fantastic. What will you feel like on the day when you walk in here

with all the citrus fruits in blossom? Probably the proudest man

in the world I think, along with all my colleagues involved in this,

we're very, very proud of it. Another set of unique craft skills

came into the play in the restoration of the second building

competing in the craftsmanship category.

The 16th century Smyth barn in Kent was built by Elizabeth I collector

of taxes, Thomas Smyth. Thomas Smyth was a giant of a man

and I think probably Elizabeth I was somewhat intimidated by him. He

was very, very rich. He wanted to build this barn just to show off.

What transformed Smyth's barn into a rural cathedral was its

magnificent hammerbeam roof. A roof like this is normally found in a

Baronal hall. But this is this was a building obviously meant to

impress. The res tors has been lovingly carried out by a team led

by carpenter Peter Massie. It's a great privilege to work on

something so important. It does give you this sense of the people

who have been involved in it historically. I do get that sense

when I'm doing a repair that someone was actually looking over

my shoulder and saying "I'm not sure I'd quite do it like that" or,

yeah, that's a really good way of solving that problem.

For centuries Worcester cathedral has stood proud over the river

Severn. But its once magnificent 14th

century hall where the monks offered hospitality to all those

passing through Worcester has now all but disappeared.

This is the third building competing for the craftsmanship

award. To ensure that this ancient site

survives into the next century, the cathedral's team of stone masons

have been hard at work shoring it up for the nation. When we first

started the hall itself was in danger of collapse. I think the

wood lice had done their work. All the joints were just soil, not even

mortar. Then it became very apparent that the tracery panel was

in a very poor state. In fact, I could have just pushed it over, it

was so poor. It was very, very difficult to

restore the window. What information I had was very limited,

but then I found a postcard. I was really surprised to see they had a

picture of the hall and the window itself was intact. Just that

postcard alone enabled me to recapture that design. Helping

Darren to piece together the jigsaw puzzle had been a team of young

apprentices. To be able to work on something that is nearly 700 years

old is an experience you don't get very often, not in many other jobs.

It's great to be able to work on something where it's visibly

obvious what you've done. Every time people come to visit me it's

"come to see the window". People are really impressed because it's a

massive project. It's done and I think it looks great.

From the outside, WoodChester mansion in Gloucestershire, the

final building on the list, may look like a perfect example of a

grand country mansion completed in the fashion I can't believe late

Victorian Gothic revival style. But its ghostly interior tells

another story. This place hasn't become a ruin, it was always just

like this. In fact, it looks exactly the same

as it did when it was abandoned mid construction in 1873.

It created a tremendous impression in people's imagine who lived

locally. It was abandoned, people said it was haunted. There's hardly

anybody in the Stroud Valley who didn't climb into this house during

their childhood and frighten themselves and run around inity

empty, echoing vaulted halls. was built for William Leigh, a

wealthy Catholic convert who was such a perfectionist that the house

took nearly 20 years just to get to this state. When he died in 1873,

the family's fortunes dried up and construction ground to a halt.

Now, thanks to the mansion trust work has resumed. Students from the

city of Bath college have been given a unique living classroom to

work in. I love history, one of the reasonsy

went into stone masonry was for the historical side of it, I really

wanted to help preserve all our beautiful old buildings. You don't

get a better example than this, because it's just a snap shot of a

bunch of stone masons who've, they didn't finish the building but we

can see how they work and the beauty of what they did. They left

all their tools on site. We can see them, we can see all their marks

and their genius that they had back then. It's a dying art. We need to

preserve buildings like this to understand what they did.

Now, from the fundraising efforts of local communities to those of

some of London's leading public art galleries. In the public eye is

launched at Frieze this year and here is their slightly modest stall

looking to raise more than modest amounts of money to supplement

increasingly challenged, I fear, budgets of public institutions.

Tell me, Julia, what's it all about. Nice to see you. This is a moment

where the public sector comes into the private sector. We are holding

our own in this incredible art fair with unbelievable examples by some

of the greatest artists of today who are selling their work,

commissioned by us, all the galleries who are participating for

a fraction of the price than they would in the commercial sector. We

think this is the best deal on the planet. Tell me, have Frieze

donated this stall to you or are you paying them the market rate for

it? They have, the group of London galleries asked Matthew and Amanda

if they could provide ugs with a booth, which they've done. Here you

see works from across a range of London galleries including

Serpentine, Whitechapel and it's very exciting to see all this

together, the first time we've done this. You see the commercial

galleries and then us. Is it not also a slight barometer of

recession that you're having to come out, museum directors, the ICA

and the Serpentine, having to come out here and say, here we are, we

need money? No, we love coming out. It's what we do. If you were going

to buy one of your own stand art works, which would you choose?

would certainly draw attention to the Pablo Bronstein. I think it's

fantastic. A strange post modern tea pot. I have to say, I'm charmed

by it. I thoroughly endorse that, however Here comes the Serpentine

choice. I have to draw your attention to the Henry sala which

is gore yus. -- gore yus gorgeous. How much? �500, a stphip. With the

frame? Without the frame. You oeu drive a hard bargain.

Thank you. Now, to a rather different kind of

donation, brains, earlier this week I visited an exhibition that

explores one of the last great taboos, donating your brain to

medical science. I'm going to have no more use for

this stupid brain of mine, am I? What good is it, they'll only put

you in the oven. The brain doesn't work now. The human brain, the

least understood and yet the most incredible of all our organs.

look at the brain as the biggest computer in the world. You can

either go forward or you can go back. I've been through from horse

and carts, all the way through to space travel.

When we die our brain will inevitably die with us, taking all

its secrets and uniqueness with it. I don't mind if I die tomorrow.

I've had enough now. But what happens if it doesn't?

What if your brain could go on to have a rewarding professional

career, long after you're gone? It's not a question that

preoccupies many of us, perhaps, but a new exhibition here in the

dusty basement of Shoreditch town hall is aiming to change all that.

Mind over matter lifts the veil of anonymity from 12 prosecution

PCtive brain donors, documenting their lives, their thoughts about

death and also suggesting some of the journeys that these people's

brains will take after they themselves have departed.

The very idea of brain donation conjures Victorian images of body

snatchers and brains floating in jars.

I said, could they have his brain, I said no. I was so appalled at the

thought of them. Just imagine them cutting his head open and, you know,

probably sawing it open! The exhibition is filled with

fragments of the donors' lives, voices, photographs, memories.

I like that one up there, I'm only 18. We were married in April 1974.

My husband doesn't dance, so I don't dance with him. Over more

than 25 years these donors have had every aspect of their history

documented by referendumers investigating cognitive decline.

Because brain donation is unlike any other kind of organ donation,

it's no use to science without also the knowledge of your histories.

The thing that really makes brain donation so special, you don't just

give your brain, in a sense, you give your life.

This exhibition has been three years in the making. It's the

result of a unique collaboration between artist any yafplt and

social signtivity Briton win. What would be your measure of success

for the show? Would it be, for example, I would visit and think, I

must consider my donating my brain? I'm sure they are always interested

in a quality brain, which I've no doubt you have, Andrew, but for us

the marker of success isn't really necessarily increasing large number

of donations to brain programmes, although that would be a very

useful output. But I think more it's to rehabilitate people's

conception, or whole notion of the idea of bodily donation, which

became terribly maligned. When you first did visit a brain bank, what

was your response? We were walking through all these rooms with lab

assistants, working with their microscopes and various machines,

but other than that it looked like an ordinary hospital floor.

Eventually we were taken to this basement with lots of freezers,

again, nothing that unusual except the temperature was very low, minus

18 degrees. Then the freezer door opened and there were lots of boxes,

lots of boxes which looked like little take away boxes and then

suddenly I realised these are brains, these are human brains.

There is some kind of I was transfixed just, at the power of

what you were describing, the brain, realising how unusual and how

different and how Royal the brain is amongst all the other organs

that we have. Is part of the aim of the collaboration to give a kind of

human story to the subject as it were? Yeah, absolutely. I think one

of the key things about this project is not to see this as some

cold artefactalised material, slides or bits of broken brain that

comes from who knows where, but that they are connected back to an

individual, who had a life, a whole host of complex experiences, to see

it as a journey or trajectory. Dementia, from the Latin meaning

without and meaning mind. Current figures predict that more

than one in five of us will be suffering from dementia by the end

of our lives. Terrible disease, I don't know where they are, they

don't know who they are. They don't even know their partners who

they've been with. I think it's a terrible thing. To lose your memory.

My husband is around, he's still around, isn't he, Alan? Not minimum.

When did he die? 30 years ago. Don't hear from him.

These 12 brains will go some way to helping scientists understand this

complex disease. Dementia is like a strand of pearls

in a way, what remains in the enare these little polished orbs, glowing

with the perfect memory of a series of discreet event but they're quite

a way away from each other and all that's left in the middle a bit of

rather brown grubby string that holds the whole thing together.

Ania has helped me understand the nature of memory, how we remember

things, what gets remembered, what gets retain and what gets lost. Why,

and that's been incredibly helpful for me.

Rowland Bart once said every photograph is like a little death.

It preserves a slice of time, a moment of life that will never be

repeated, that can never be the same again. I think that's why

photography lies at the heart of this exhibition, it's a way of

making you think about human life, memory, what it is that a brain

houses. I'm stuck in here, there's nothing

the matter with me. It's just age...

Mind over matter runs until October 23rd at Shoreditch town hall.

Now, this section of the fair is known as Frame. It's supposed to be

the rough independenty part. I think the give away is the

cardboard signs and the industrial flooring. The point of Frame is

that it's dedicated to solo artist, shown by galleries who have been

running for less than six years. One such artist is chana. Good to

meet you, I'm Alistair. I hope you'll forgive me for saying this

on camera but my first question is Frame is all about thrusting young,

emerging galleries and of course, I think you're almost 80, I wondered

how come you're making a UK debut as part of Frame? It's part of a

full circle. I'm getting older and they're young. I see!

Tell me a little bit about your work, then. Looking around it seems

like it's quite mathematical? Actually, I'm very bad at maths.

Terrible at it. What are you do doing making work like this? It's

logic, I don't think logic is maths, I just think of it as questions and

searching and answers. I ask all the questions that I can of my work.

Answer for an answer but I really don't want an answer, I want more

questions. I see. Well I've got another

question then, which is, if you're looking at something like this,

what's the starting point? What are those marks telling us, how do they

relate to logic, in a simple way what do we see? What I'm doing,

that's a cancellation booth, as it goes up it gets less. I challenge

that piece, saying no two lines can be one over the other. I just kept

eliminating until the very top. has it taken you so long to show in

Britain? Because nobody found me. I was busy working in my studio. I

have a lot of work but I have not been exposed through galleries. I

didn't know if I ever would and that's all right. Tell me more

about Frame itself. What are you hoping to get out of being part of

Frame? Well, I just love the exposure in England. I love the

fact that my gallery is here. it's been a renaissance for you?

Absolutely. Was there a period when you felt you were in the

wilderness? Totally, most of the time. How long? 20 years. Wow! This

is a big deal, for you this is tapping right back into the market?

Absolutely, absolutely. I hope you find a great number of buyers to

come and, well, make this a sellout show? That would be, from your

mouth to God's ears. It's been really great to meet you, thank you.

Good to meet you, too. That's the thing about Frieze, because the

fair draws so many of the biggest and most important collectors of

contemporary art from all over the world, lots of other museums and

galleries mount their own special exhibitions at the same time. We

sent resident film supremo Mark Kermode to give his own special

take on one of the biggest art openings of the week.

I'm off to a screening, it's not my usual kind of screening, not my

usual kind of film, but given my broad-minded open attitude to all

things celluloid, I'm looking forward to the challenge. Today's

screening is probably the biggest I've ever been to.

I'm sure they don't sell popcorn there!

I'm here at Tate Modern because the new Turbine Hall commission is for

the first time a film by visual artist Tacita Dean. Well, how to

begin to describe it? It's like celluloid as architecture, it's

like a huge celluloid strip, like a building, like the monolith from

2001. The first thing you notice,

obviously, is that cinema is usually landscape, that's turned it

on its side to make it portrait shape. The other thing that adds to

the immense power of the piece is just how big it is.

Tacita Dean made her name when she was nominated for the Turner Prize

in 1998. She's best known for her intimate

16mm films which range from the depiction of seascapes to port

rates of artist in their old age like poet Michael Hamburger or

Merce Cunningham. Her latest work film here at the Turbine Hall is

altogether to a different kind of port trait but something that might

also be near the end of its life. So, Tacita, here in the Turbine

Hall, which is a massive space, great opportunity for an artist but

also a possibility of risk, how did you approach it? With trepidation.

I was very surprised that they asked me, I'm someone who's not

known for my larger works. I'm an artist that used to work more

intimately. So, it was a radical change for me. Koefrps, I just had

to work infewtively and my first impression it had to be, whatever I

had to do had to be portrait format like the space, then it became

about trying to make that possible within the medium, within film.

The hall itself has defined the shape of the installation. As far

as the content is concerned, you've talked in the past about filming a

lot to fine a little. Has that been the same with this and how did you

choose the images? It came about when I had the portrait format but

I didn't know what it was a portrait of what, for a very long

time. For a certain time I started to pick out my portrait post cards

of when they were water fals and steps and things like that. I added

them up and after a while I realised it was a portrait of the

medium, the film itself. Then after I had that, it was a portrait of

the Turbine Hall. So it was a combination of a portrait of about

this place, well for this place, it was only ever going to be for this

place and then with the holes. I realised it was a strip of film, it

was very simple. It was that revelation. What about the fact

that you've shot here in the hall, it's like you're looking through a

film to see the hall behind with images moving in front of it?

I'm glad you think that I did shoot in the hall. Did you not? It's

infect? It's a fiction, it's cinema. This is all made with early film

techniques. There's no digital post-production in this film

whatsoever. You used to make images and films in the studio and all

that magic happened then. Now it's just like, "we'll do it later".

disappearance of celluloid film and the loss of over a century of

skilled craftsmanship is something that Tacita Dean has explored in

other works. For her 2006 piece, Kodak, she filmed the last

manufactured raoels of Kodak's black and white 16mm films.

Reels. One of the things you talk about is

the idea that film should be remembered as silent, that the

images is primary, that sound is always put on afterwards, it's

something which is added artificially. Your previous works

have talk about that art fis of sound. How prpb is it for people to

be watching a silent image and be reminded this is where cinema comes

from? I thought hard about it, actually. I thought this space has

such an acoustic that it has its own sound-track.

I love the silence of this film. It was a good decision. To remember

the silence of film is much more difficult now with digital because

they always, it always comes with sound. To have known your image as

silent is a wonderful thing. Sound plays an important role in

Tacita Dean's work. The sound- tracks of her previous works appear

real, yet they are laboriously constructed by the artist. In her

1996 installation Foley artist she drew attention to how sound effects

are created and influence our perception of real sound.

Because the sound of this hall is so distinctive, even as we're

talking I can hear the sound of the hall around us, how do you want

people to be in this space, do you want them to be quiet and watch it,

or talk? No, no, I'm not prescriptive like that, if you go

close to this image you can see this flood of grain an hope people

will not just take the seat at the back but move around the space and

be absorbed by the actual movement within the stillness. One of the

concerns of this installation, your work in general, is the difference

between film and digital imaging and celluloid is fast becoming

obsolete. This is something about which Europarksate. What's

important about celluloid? Film is an entirely different medium from

digital. For some reason there's an assumption that digital can take

over from film and it can't, of course, they're totally different

medium. The two should be allowed to co-exist, we wouldn't do the

same with another medium, we wouldn't get rid of oil painting

and replace it with acrylic,the Turbine Hall is a huge platform and

I had to make this project about fighting for the medium that we are

just about to lose. We've had this for over 100 years, we won't be

able to see our history of film as film unless we do something

quicklyly. I wish you all the best, it's a

very noble cause and it's a great installation, congratulations.

Thank you. That's all for tonight. Next

Tuesday Tim Samuels visits the residents of couplery in Perthshire

to get their lowdown on this year's short list for the Man Booker Prize

in a Culture Show Special. We'll be back next Friday with the star of

the Killing, the new take on 1984 and the show at the Heywood. But we

leave you with one final Frieze project from lucky PDF who are

broadcasting live. In the daytime the young brunette

comes out of a car and approaches a team working in the garage.

, The brunette bashes on a red metal shutter and gives a peace

sign as it opens. A man pushes a TV displaying test bars past a sheet

bearing the silhouette of two palm trees.

This is princess dollar for lucky PDF TV. Wearing sun glasses the

brunette is now performing to a hand held camera.

Hi, kids, doul like princess, introducing Her Majesty... Against

the green-painted backdrop a man and woman perform abstract dance

moves. Princess Donna's hair is being blown by a wind machine as

she dances. The young film crew move a studio monitor. A guy turns

a bright key light. Lucky PDF TV. A woman in a

patterned cat suit desends some steps.

Join us at Frieze for lucky PDF TV. She winks and goes and a man with a

beard circles each foot in turn around a bird ornament on the floor.