Episode 12 The Culture Show

Episode 12

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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.


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