Episode 5 The Culture Show

Episode 5

Similar Content

Browse content similar to Episode 5. Check below for episodes and series from the same categories and more!



Hello and welcome to The Culture Show, coming to you from the 2011


Manchester International Festival, the biennial event committed to


premiering world-class new work across the city and across the arts.


Coming up: Victoria Wood on choirs and overweight insurance men in her


new show That Day We Sang, Damon Albarn's latest creative odyssey


culminates in Doctor Dee: An English Opera. The self-stifled


godmother of performance art Marina Abramovic presents the story of her


own life with a little help from Willem Dafoe and Anthony Hegarty.


30 years after its release, Rickie Lee Jones tells us how she feels


about returning to her breakthrough album Pirates for a special


performance at The Bridgewater Hall. Plus, Alastair Sooke experiences 11


rooms of art and Ben Lewis takes a tour of the outdoor artworks,


Manchester's new mical -- musical Wu Lyf breaks the myth about their


mistaoeubgs. First, a show about how the power of music can revive


your love of life, played out against a backdrop of Wimpey Bars


and Piccadilly Gardens, That Day We Sang is the work of Victoria Wood,


inspired by events in 1929 when the Manchester Children's Choir


recorded their celebrated version of Nymphs and Shepherds. Singing


guru Carrie Grant has been speaking to Wood and the new Children's


Choir she's created especially for the event.


In 1929 the Manchester Children's Choir released a record that would


change the lives of those involved, offering hope in the midst of


depression. MUSIC


in 1979, the BBC broadcast a documentary that brought the now


middle-aged members of the choir together again. And a Young Vic are


toia wood -- Victoria Wood happened to be watching.


The seed of a story stayed with her and over 30 years later the


nation's favourite musical comedian has written a play with songs based


# I want to make you proud # I want my song


# To let you see who I can be # When I belong. Writing it, did it


just flow? It didn't exactly flow. The problem I had with it was that


I had to write the strapline for the poster before we wrote the play.


So I was sort of stuck. I had the boy on the poster, so I had to have


a boy running in the play. How does it feel for you to be writing and


directing, but not appearing? great. I am delighted. It's a


complicated thing to put together because it's got an orchestra, a


choir, a child star who can only work every 20 minutes every fifth


Tuesday, it seems to me. We have an adult cast. We have filmed bits,


it's a complicated show to put # We would glide by as if we're


tied by a thread # We would have an amorous and


glamorous affair... The power of singing is immense.


It's fantastic. The power of music is immense, the power of music to


move you and evoke emotion in you and that's what the story is about,


it's about somebody hearing themselves sing and thinking I


could have a different life. I don't need to live like this, coy


have more e-- I could have more emotions in my life than I have.


Sorry, did you say you sang or didn't sing, I got distracted?


sing?. No. Do you sing? No, I never sing. I never sing. I don't think I


ever did sing. Was that me? Did I sing? Did my voice once soar?


Am I still that boy? For the original Nymphs and


Shepherds, whose childhood recording sold a million copies and


entered local legend, the power of singing has sustained. From the


mid-1920s the Manchester Children's Choir united 250 children from


disparate local communities in song. Florence was one of the original


school children who sang in the choir's pioneering concerts and


recording at the Free Trade Hall. Nymphs and Shepherds... That's it,


that's the one they sang mostly, because it was going to be recorded


so we had to be sure about it. never thought it would be anything


big, just thought go along with it, yes all right. And lo and behold,


it's grown and grown. It was the highlight of our lives. I was a


quiet person, but after a period in that I seemed to get more


confidence in myself. Imagine the shepherds are over there and the


nymphs are there. OK. Now Victoria Wood's new play has


brought children from several local schools together to sing as a choir,


like in 1929. These kids perform as the original


choir and breathe new life into Purcell's Nymphs and Shepherds on


stage. That's beautiful, well done.


How do you feel about thinking that 80 years later you are now the next


set of children that are going to sing? I am actually excited that I


am going to be singing such an old song, that's the first time I ever


heard that song. Do either of you want to be singers or actors?


might want to be an actor, singer, but I don't know yet.


That Day We Sang isn't simply a re- enactment of the 1929 choir moment,


the play with songs takes the story further, fastforwarding to 1979


when nymph Enid and shepherd Tubby who wanted so much to sing as


children meet again in middle-age. Why isn't it just a play? It's


about music, it's about singing, whether you do or don't sing and in


my play the singing expresses the things they can't say. They can


talk about decimalisation but sing about love. Why can't they just


call it a new shilling? Because then they wouldn't really have


changed anything. It has to be something to be divided by 100 to


be decimal. I think people are going to be very cross. # Middle-


aged, buttoned up # It's safer to ignore


# Who we were # When we sang before


you often use middle-aged characters in your work. Guess why!


Because I'm middle-aged. That's why. Truly? I used to write about girls,


and now I am writing about people in their 50s, because I understand


it. It's often in that middle age where we have the opportunity given


to us to make a massive change for some reason. Yes, I think in 1969


when the play is set 50 was probably perceived as older now.


Nobody wants to be old now, people would not think of themselves as


old, but then I think people perhaps expected that the exciting


part of their life, their romantic part of their life was finished, so


this is somebody saying, either of them, have never had a romance in


their life and they're going to have it now.


# If life were movies, we would know all the words


I just want them to have a fantastic night and feel that


something's happened, that they've been entertained. That's all I am


ever trying to do, to 10.00, that's when the kids have to get back on


the coach so we have to stop then. That Day We Sang continues at the


opera House until the end of the Festival on Sunday. Next, musician


Damon Albarn likes a challenge. He has enjoyed chart domination with


blur and huge popular success with Gorillaz but he's also been a


committed contributor to every Manchester International Festival,


kicking off with the hit Chinese opera Monkey, creating music with


Punchdrunk and Adam Kurtis and now working with Rufus Norris on Dr Dee,


it's been marketed a -- as an English opera but Albarn muse it is


might be better described as a melancholy. Michael Smith has been


finding out more. History is full of forgotten men.


Brilliant, strange, complex men whose influence has reasonated


through our culture in ways that may have have become obscured.


One such man was the Elizabethan thinker and occultist Dr John Dee.


John Dee is a shadowy obscure figure at the heart of the English


rennaissance. Elizabeth I called him her philosopher and he was the


inspiration for Shakespeare's Prospero and Marlowe's Faust. A


crypt owe graphier -- cryptographer whose codename was 007. He's the


man who came up with the idea of a British empire, the idea that


England could become a maritime power. He lived in an age where the


line between science and sorcery was blurred. Mathematics, like


magic was still considered to be an uncanny art, the work of the devil.


Dee plummed the mysteries of both. I never found any man living nor


any book I could yet meet with all, was able to teach me those truths I


desired and longed for, he wrote. Instead, Dee searched for these


truths through supernational communication with angels. --


supernatural. This was a step too far, even for the Queen's


philosopher. His reputation tarnished he fell out of favour


with the Royal court. In 1596 Dee was made the warden of what is now


Manchester cathedral and he lived here in Cheetham library, the


oldest public library in Britain. It was somewhere he was free to


continue his occult research and tongues wagged that he was


conjuring up the devil. The legend has grown up that this burn mark


here was caused by the devil's hoof. Dee supposedly summoned him up one


dark night. The life of John Dee provided the


in-- proved the inspiration for Damon Albarn's latest opera showing


I caught up with Albarn between performances and asked what


attracted him to the character of John Dee. I have always been


fascinated with history, it was one of the few things that I kind of -


history and music were the things at school that I was interested in.


OK. It's everything about him was elegant and I am a great fan.


you see a lot of threads between that Dee's time and our time like


was there a reasonance? The two Elizabeths was an easy starting


point for that. I am sort of an Englishman alive in the last embers


of the fire and he was an Englishman who kind of... Stoked


it? Stoked the fire, exactly. melancholy score features the BBC


Philharmonic Orchestra and a mixture of African and English


musicians, including Fela Kuti's legendary drummer and frequent


Albarn collaborater Tony Allen. I got a real sense watching the opera


that there's disparate things like African instruments and medieval


English things that could not easily have gelled. It really felt


they were tapping into some kind of force, if you like. Yeah, a force


that, you know, if you talk about intangible things like vibrations,


stuff you can't see or hear necessarily, I think absolutely.


They come from a same place and they all come from a very sort of


different sound world, you know. I mean, all those instruments sound


amazing together with no amplification. It's really nice


just to sort of leave the amplified world, although I couldn't leave my


microphone. Why did you put yourself in the opera, why did you


want to star in it? I never wanted to star in that, that's more a


marketing - I never really comfortable with that. It's been an


amazingly corroborative process and -- collaborative process and I was


singing some of the stuff myself and it's like I really love this. I


am completely comfortable being in this world and in a way it's kind


of - it's an opportunity to say something about England, which


there's no other frame I can imagine that I would be able to say


# The sun out of the valley # Comes the song of our aaccord...


I find something strangely moving about John Dee. I think it's


because he embodies an esoteric current that runs through English


culture. It's in the myths of king Arthur of stone hedge. It's


something that our artists channeled. It's in the words of


Sheikh or the pibtuers of Blake. More recently it's in the songs of


Syd Barrett or Nick drake. A strange sense of the magical that


Doctor Dee will form part of next year year's Cultural Olympiad


playing at the London Colisseum. Now, one major contributor it this


year's festival programme has been known to remain silent for hundreds


of hours at a time, to lie naked on a cross of ice, even to slash her


own skin with a razor blade, Marina Abramovic is nothing, if not


committed. Her work forms part of the group show, 11 Rooms. He is


presenting her own story, The Life and Death of Marina Abramovic


produced and directed by Robert Wilson, starring Willme Defoe and


by music by Antony Hegarty. I went along to take a look. -- One famous


early performance dared the audience to utilise an array of


objects including noose knives and a gun as she stood passive in front


of them. Last year she sat opposite members of the public every day for


three months in one of the longest pieces of performance art on record,


attracting over half a million visitors. Her offering at this year


marks a first in the career of the now 65-year-old artist. In Marina


Abramovic has always been careful to retain absolute control, here


she's done the opposite. She's given the director, Robert Wilson,


her life in the form of notebooks, memoirs, confessions and say, make


of it what you will. Stage me. In a rate me. Tell the story of my life


as you see. It it's an eccentric theatrical experiment in the


surrender of control. Having fun. We are going to talk about dying,


apparently? Lovely moving for to die. The Genesis of the project


came from Abramovic's wish that Wilson would design her funeral


while Antony Hegarty would provide the music. Though it begins and


ends with a funeral ceremony, the play also takes a surreal episodic


journey through her life, especially her early years in post-


war Yugoslavia. What I call this piece is, Robert Wilson's The Life


and Death of Marina Abramovic, it's his vision. He has freedom to


recycle as he wants. I don't have any control of. It that not having


control is the most liberating feeling I have for a long time. I


have complete control about my own work. I didn't want to have any


control about my life. There is so many different things, like, you


know the me is played by the Carlos, Carlos is this man who is quite


small size with moustache, I can't believe he cast me, I said, "who is


this" he said, "this is Carlos, this is you" I said,, "who am I


going to be?" He said, "you are mother of course" that is a crazy


twist. I had a problem with my mother all my life. I play myself


and then it's all mixed up. There are so many Marina's on the stage.


Robert Wilson is regarded as a visionary in the theatre world. He


has previously collaborated with Tom Waits and Philip Glass. You


have taken a performance artist. She delivered you her life. You


have turned it back into a work of art which you formalised using a


lot of devices drawn from the language of art That's true. I


didn't want to take her life and just illustrate it. We know what


she has done as a performing artist. For me to reproduce that on stage


stage would be totally wrong, I think. First of all, performance


artist is different that theatre. - than theatre.


# Why must you suffer? # It's a collision of very strange


personalities. Willem Dafoe is more psychological, naturalistic actor,


I'm trying to formalise him. When I think of Marina's life, this dark


stories about how terrible her mother was, and how terrible her


life was a -- as a little girl. You hear this ethereal voice of Antony.


Watching rehearsals I was really struck by how Robert looks at the


stage as much as an artist and as a lighting designer and as he does a


theatrical producer? One of the things I've always loved about his


work, he's a sculptor. He plays with light and he bends time. His


instruction to sometimes to me is, make it less natural. I share his


sensibility that way. The theatre is the theatre. It's a heightened


language. I'm a little bit of the opinion of, you yeah, you wanna see


life, go to the diner. Tell me about your role, your role seems


very important? I'm part of the glue, I'm part of the structure.


1972, she stops using -- she starts using her body as material. Pushing


her body to its physical and mental limits. Part in a rator, part


chorus? Yeah. I'm like the old stinky actor element in the art


world. With this play marking her furthest move yet away from


traditional perance art, has Abramovic left her old radicalism


behind? You used to say that you hated the theatre. So how come this


is all right? I always like to do things I'm afraid and I don't know.


You go to another dimension and you learn so much about doing it. It's


so easy to do things you like, you never change, but when you don't


like, that's the really interesting, to give up control that's a really


liberating experience. In that way, your life always looks new to you.


It's a good trick. The Life and Death of Marina Abramovic continues


at the Lowry until Saturday. There will be more on 11 Rooms later in


the show. Manchester is a hive of cultural activity at the moment.


The success of the third international festival is another


sign of it. The other is the BBC's new home, media city. Sefton


Samuals has been documenting changes and his collected works


have just been published in a new book, Northerners. What does it


mean nowadays to be a northerner? What makes a Mancunian from


Manchester in anyway distinct? It's all used to be so straight-forward.


Growing up in Manchester in the '80s and '90s you were part of a


tribe. After living down in London for years, I myself have become the


softest ever southerners and barely recognise the city I grew up in.


Challenge me nowadays to put my finger on what makes northerners so


northern and I haven't really got a clue. I have come back to


Manchester on the hunt to find the essence of northernness. This is me


and my dad, Sefton Samuals. He is a famous photographer with pictures


held at the National Portrait Gallery and V apbld A. If anyone


can help me define what it is to be a northerner, it's him. Sefton has


spent five decades photographing Manchester, the north of England,


and its people. In black-and-white, he captured their approachability.


Their sense of humour, their straight-talking swagger. I was


always struck by the soul of something he captured. I spent the


last decade asking him to bring together the collection of his


northern photographs as a book, which is being published as


Northerners, portrait of a no nonsense people. I am used to being


around your photographs, I haven't asked you about the ethos behind


them. No nonsense, that does that reflect your artistic style? Yes,


it does. I try to take pictures of life. Straight-forward depictions


of life. I'm happy for a photograph to look like a photograph. I don't


want it to look like an artistic painting. I don't go in for


pictures that are setup. I think they look very false anyway. I try


to be a, sort of, hidden observer of life. Sefton strategy has won


him the trust of some awkward characters. Sam's Chop house is


where Lowry once popped up the bar. Rare pictures, thanks to to a


concerted charm offensive on Lowry's house keeper. We found we


had something in common. We had worked in a mill in her younger


days. She said, "I will drop you a line as soon as I know when he's


coming in. Give him a couple of days to settle in. Don't mention my


name, whatever you do". So, I said, "fine", she was as good as her


thwart. It was the foot in the door my dad needed to get his pictures


of Lowry. He said himself, "the best portraits I've ever had lad,


lad". That's me aged 13 with my teenage hero Morrissey in 1989. I


tackled him outside his Manchester home to see if he would do an


interview for my school newspaper. To my utter astonishment he agreed.


My dad took the snaps. Maybe I had inherited some of that dogged


determination that had seen him track down some of the North's most


famous faces. One of the most widely used set of photo that is


Sefton took needed almost no struggle for access. Footballer


George Best used to run a Men's Wear shop on Bridge Street. He was


leaning against the door post. Enjoying the spring sunshine. I was


walking back from lunch, I spotted him. I came over and said, "would


you mind if I took a few pictures, gorpbl?" He was obliging and


relaxed and said, "that's fine". It was only a few moments. I didn't


realise then I'd get such significant pictures. These would


end up in the National Portrait Gallery, Paul Weller's covers. Who


is the equivalent to George Best. Rooney. You would never get near.


Mirroring the change in football, it's a parallel that goes from


being George's boutique to now a big chain here? From a star to


Starbucks. Have you rehearsed that Everything in Sefton's photos


appears older than it really is. The 60s' images feel almost


Victorian. But I think they reflected a


tendency the north itself once had to look a decade or so out of date.


Come on, quickly please! It would take an act of violence to shake


off Manchester's timelag. The 1996 IRA bomb in the heart of


Manchester shook the city to the core.


From the pull srerised shopping precinct sprang a determination to


renew and re-invent. The torrent of regeneration with Salford the


harvest, the back streets documented by Sefton, the character


which inspired the birth of Coronation Street, swept away for a


shiny future. Back then when you were taking


these photographs of Salford how would you have felt to show


Manchester is going to have an International scan festival and


Imperial War Museum, the BBC is moving here? I wouldn't have


believed it. It's so totally unrecognisable today. It changes so


rapidly that sometimes I have a job to find my way around.


Sefton's north is the north of Joy Division, coronation street and the


Smiths. I wonder if that north is gone forever now, and whether it's


still clinging on? For all the changes afoot here,


coming back does seem there's still a distinct culture, a way of


viewing the world up north. For me the essence of being northern is


best bottled by the photographs I grew up around. Frankly, it would


be impertinent to argue with something your dad has spent five


decades defining. Northerners was published last week.


Next, for over 30 years Rickie Lee Jones has been a musician who's


defied classification and she was at the Festival to give a rare UK


performance of her classic album Pirates At The Bridgewater Hall on


Sunday. We sent Clemency Burton Hill along to meet her.


Aged 14 she ran away from home and hitchHicked around California. Aged


21, she had major major record labels vying for her signature. Not


long after she was on the front cover of Rolling Stone and won her


first Grammy. She might be best known for her single Chucky in Love.


But it's Pirates fans still Cherish the most.


Pirates was released in 1981 and is considered the definetive sound of


Rickie Lee Jones. It's eccentric, witty and a bit soulful. But 30


years on, do these youthful songs of love and lust still pack a


punch? Do you have any inkling this would be a record that would stand


the test of the time in the way it has? Yes. Yes. Why do you think


it's such a special album? Why do you think it still speaks to us


all? There's no song I do that I don't love and inhabit totally. If


people love this record so much, let's do the whole thing. There are


pieces I haven't done in 28 years, they're fun, they're hard and you


do something that's hard it makes # I say this is no game of chicken


# You are aiming at your best friend


# You wear that like a chain around your neck


# Like the one you got from your # One more way, you can't play this


scene twice. You mentioned that each album for


you is like a movie of your life at the time that you were making it.


Yes. How is it to revisit that former self? When I did the Pirates


tour it was a pretty wild tour. People who had been sober, just


fall off the sober wagon tour. It ended up in disarray. I don't any


more, but I always had a drink before I went on stage. I think the


stage fright became really intense for me and I started bringing a


glass on stage. Then one day I just brought the bottle on stage. They


took a picture and put it in the LA Times. Almost the whole page.


Suddenly I became associated with this thing that's been difficult to


shed, you know. Are you the same? Are you the same Rickie Lee Jones


now as you were then? When I first did Pirates a year ago at the Pier


in LA it was a really big crowd. I stepped on stage, in my leather


jacket, and she was waiting just as she had always been there, the


Rickie Lee of the Pirates time, I was ready to... I wasn't aggressive


but I felt her there, you know. you have to reinhabit her? I didn't


do it on purpose. You know, I didn't expect anything like - I


just said I am going to do Pirates but this other living persona is


part of that music. It's incredible, you know. When you were very young,


in your early 20s, you got famous very quickly. What was that like?


It's like being in a tidal wave, yeah, so, of course the tidal wave


is a shock, but it was also something I always hoped to have.


It was pretty wonderful, it was really difficult, but it's hard to


say because life wasn't that easy # Chuck E's in love


#. Are there any big female artists working today who you really admire,


who you think are doing good work? No. Not a one? There are single


songs I like or single performances, but maybe that thing of being


captivated is an age thing, you know, because it's part - being a


part of your peers, and it doesn't happen so much when you get older.


You are captivated by your children or the thing, you know, the person


you love. Because you do spend so much time on tour and you are


performing all the time, do you still feel now that you still need


to be performing, that you need to be playing live to an audience?


I like to write, but there's nothing like performing and I am


blessed. There's something that happens in the magic of performance


that can't happen anywhere else. People come ready to have that


experience. To me it's it's closest thing to a true Church. Are you a


pirate? Yeah, yeah, in that I liked having a crew and in a way because


In its short history this Festival's developed a reputation


for commissioning some extraordinary live art and this


year's no exception. Alastair Sooke went to experience some of the


encounters on offer in 11 Rooms at Behind the stiff neo classical


fasade something daring is under way. The doors are about to open on


a show existing exclusively of So, this is the dress rehearsal. I


have myself a plan. The first artist I wanted to show you was


someone called Joan Jonas, a pioneering firm firm -- feminist


performance artist. In this piece - - in this room, you can see please


be aaware this room contains nudity. Don't worry, ever the intrepid


reporter, I will just take a look. I think we should move on.


But that does look like a very interesting voyeuristic strange


piece about desire. There's another piece I want to see. It's confusing


actually, I feel like I am in a school corridor or something. There


are two artists, they have been a big hit in Venezuela. Their work


often contains an element of absurd humour, I vent to Venice and I saw


outside the pavilion they had overturned an enormous tank and


they had an athlete running on top of a treadmill making one of the


tracks go around. The tank was a British tank. I am not sure about


what that says about the special special relationship between


America and Britain. In here is a piece called Revolving Door.


Oh, that's a bit sudden. I think I am going to see you on


the other side of that. This is really quite unsettling and


class troe phobic -- claustrophobic. To begin with they're really slow


and there's a rapid increase like that, which makes you want to move


out of the way rapidly. I guess that's a piece all about


the relationship of the individual to the masses, to the crowd,


because suddenly you feel like you are an autonomous agent going in


there and you are not any more and you are forced to move in different


ways. It's kind of funny. The expressions the whole time are


deadpan, to be honest I felt unsettled. You can probably tell. I


went in thinking I was going to explain the piece and I was like,


oh my God, I better move this way. I am going to digest that. It's


kind of military, as well. In the meantime, let's look in here. This


is a piece by Simon Fujiwara. He is not a part of the piece normally.


You see a clock. It's called Playing The Martyr. There is an


enormous bed. The price is there's someone in it.


-- surprise is there's someone in I don't know if you can see, the


title of the book is The Lives of St Simon. A half naked bloke


reading a book in a big enormous pha hog -- mahogany bed. Do you


I quite want to know what's in the book.


Maybe we have to come back later What I love about this place is you


go into these rooms, these different rooms, and as happened


there, you are suddenly phrupb pblged -- plunged into a totally


reality. A guy in asleep in an enormous bed, there is a -- there


is a clock and he has a book about St Simon, who is Simon? He seemed


to be asleep, there was a hushed silence. You feel like you don't


want to break the spell, you are suddenly taken into a very


different place. Not sure what I make of that one,


it's all baffling. Over here, though, this is a piece by a


Spanish artist called Santiago Sierra. I guess if we take it at


face value, we are going to see a man who is presumably a veteran of


one of these wars, who almost as if he is being punished for something


is standing in the corner facing the corner, is he whispering, is he


No, he looks very somber, as if he's really done something quite


bad. I guess that's the point of the air that you are made to


reflect upon what he might have done, is he atoning for something


for some act he might have transgressed in Afghanistan, or


Iraq or Northern Ireland. That is an unsettling thought. It summon as


whole sense of enormity and violence in an otherwise quite


sterile usual gallery experience of just a white cube. It's quite


powerful thing. I have a theory, I think that performance art is


having a big moment now because it's the perfect art form for these


economic times. Usually, the art market trns art into a commodity a


product. The artists featured in 11 Rooms aren't interested in that.


You can hardly buy any of the work that I've seen today and easily


nail it to your wall. I really respect that. 11 Rooms continues


until Sunday. Now, for some music that stops traffic. On Saturday,


local band, Wu Lyf, that is short for World Unite! Lucifer Youth


Foundation, will be playing perform bsh performing to an AUDIENCE:Ience


of 2,000 people in the road tunnel on Great Bridgewater Street. They


told us about their disregard for Manchester's musical legacy as well


as their desire to break the mystique surrounding the band.


There is hype we could have monopolised done every gig. We


didn't want to do the hard sell. Treat it as a fresh new taste. Get


it while it's hot. We got a reputation as the mysterious Wu Lyf.


Which, I don't know, we all found a little, kind of, boring and a bit


cheesy. The internet has moved everything on to a completely


global scale. It's the easest free exhibition space. It's like a big


blank wall that people can graffiti all over. You can record music for


very cheap. You can make your own art work. You can build your


website, which we just did # Spitting blood #


I don't think Manchester's past really holds much relevance to what


we are doing, maybe obl only in the fact that we dapbt to do things our


own way. That is just a Manchester thing. We take more inspiration


from SS it in America than we do factory records. I dapbt want to


make cheap little digs. Obviously, it means a lot to a lot of people,


Apology for the loss of subtitles for 45 seconds


just for us personally, it's not Three records, done one, two more,


aged 25. Before we are 25. Then we retire age 25. It's a favour to the


public so they don't have to listen to washed out people playing music.


Apology for the loss of subtitles for 45 seconds


# Now spitting blood # Spit on blood... #


Wu Lyf will be performing in the Great Bridgewater Street on


Saturday. There is much more of the fest fst that isn't taking place


behind closed door. Art is springing up all over the city. Out


door events needn't talk cost you a penny. Ben Lewis took to the


streets to see what he could discover. One of the big ideas at


this year's Manchester festival is to exhibit art works in out door


spaces across the city. I'm here to explore some of the new art and see


how it is intervening in the city and altering our experience of. It


something that gallery curators like to call, rupturing our


perceptions. I don't have to go very far. I have hopped off the


train from London. The first place is right here in Manchester's


Piccadilly Station. This is a sound work designed to play through head


phones while the listener wanders around the station. What are the


voices people will hear inside their heads? I wanted to do a sound


version, to make people aware of quite how much they are taking in


of what they overhear and people around them. I spent a lot of time


here at Manchester Piccadilly observing people. Was it only


observing or was there a fair amount of snooping? There was a


fair amount of snooping as well. Once you start you can't stop. All


these people are waiting. I tried to capture in the piece the kind of


things they are thinking about. Who knows what drama are going on in


their lives. Can I try it out? We will give you head phones and


send you off. Choose a number. please. 13. Off you go. Listen. The


heart of it. Socks, water rate, nail, scissor, birthday card, God,


the garden. I don't speak, it's not because I'm dumb or mad,. I'm not


stupid. I make an effort, you know. Lunch money... You shouldn't talk


about it. Sometimes I want to go back. I want you to know that


someone has seen. Simple, cinematic, a little bit spooky. I like it.


Normally, when I go around in my every day life the only voice I


hear inside my shaed my own strange one. It's nice to get a load of


other peoples. I feel like I've been dropped into a fish bowl. I'm


looking out at this strange world of humanity around me. Any work of


art that makes me feel like a goldfish is OK. Time for me to move


on. Next up, is Lincoln Square in the city centre where a new project


is being installed. Irish artist John Gerard using 3D technology to


create his unique art works. His latest piece shows a soldier making


strange movements and springs an Iranian landscape to the heart of


Manchester. What is that man doing in your film? He is, in a sense,


dancing, in one sense. But, more specifically, he is mimicking the


actions of soldiers responding to mortar fire in military exercises.


They have this very particular precise and curious set of actions


that they do. How did you transform these photograph noose a


computerised Avatar? I showed them to a random dance in London. We


brought them to a motion capture studio in Prague. He looked at the


images and mimicking them. We used a motion capture system to capture


the actions. It uses the same technology as video game. In a


sense, it's a temporal sculpture which you can emerse oneself in and


it will be evolving and changing. This is a strikingly original


iconic work of art about the way we wage warfare today. It's all done


by simply abstracting the mortar fire posture that is a soldier


might assume in training or in battle. What does that do, this


endless loop of... It creates a sense of futility. A sense of


something without end. A sense of ritual. All this is only possible


because he is using the technology of the age of information. At the


same time, this is also quite a tradishal work of art. If you look


at it one way, it's something ancient, it's a war dance. As the


sunsets in this simulated desert, elsewhere in Manchester, a few


hours later, a ghoulish installation is about to come to


life. Hello Mr Splitfoot. Little girl snap her little fingers.


park is being transformed by this projection work The Influence


Machine. No, I have to recover from a nervous break down. Black is the


colour of my eyes. Oi! Tony is the master of illusionistic projections.


He has a galley of ghostes who rant and rave about everything from


their futures to their mummy. This piece ruptured my senses. You can


experience all of these outside events until July 17th. The Culture


Show will be back in August with three programmes from the Edinburgh


Festival. We will take our leave tonight from Manchester with one of


this year's highlights, a series of stunning shows from Bjork,


encompassing musical lightning generators, harp-playing pendulums


and a 24-piece all-female Icelandic choir. Bjork calls her latest


Download Subtitles