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This programme contains some strong language. Hello and welcome to the | :02:02. | :02:09. | |
final culture show from the 2012 Edinburgh Festival, where we're | :02:09. | :02:14. | |
bringing the finest comics, writers and comedians. Budget cut, we've | :02:14. | :02:21. | |
had to down grade the Autocue, what's my next line? Coming up the | :02:21. | :02:26. | |
funniest and fabulous shows on the fringe, according to me. The | :02:26. | :02:30. | |
brilliance of Howard Jacobson. Dieter Roth intriguing diaries, one | :02:30. | :02:38. | |
of the hotest singers in town, and Russell Kane reveals his thoughts | :02:38. | :02:43. | |
on books, blokes and broodiness. Edinburgh loves a good gong, we | :02:43. | :02:49. | |
have the Foster's Comedy Awards, fringe first, herald angels, hark | :02:49. | :02:57. | |
The Herald angels, Michael Gove prize, if you want the low down | :02:57. | :03:02. | |
what is pertinent, you need to ask a master at the peek of the | :03:02. | :03:08. | |
critical culture. We couldn't get that person, so I've done my top | :03:08. | :03:15. | |
five. Once again the fringe is full of strange and wonderful things. | :03:15. | :03:22. | |
Teas been hard to select my topics, but it's had to be done. One of my | :03:22. | :03:27. | |
favourite comics did not disappoint at this year's festival. Asking | :03:27. | :03:34. | |
questions like what is a Tory femist, why is this Edwin fat suit | :03:34. | :03:42. | |
building, and why don't they do a Spielberg film about donkeys. | :03:42. | :03:46. | |
Welcome to the world of Bridget Christie. The senged year I've seen | :03:46. | :03:56. | |
:03:56. | :03:57. | ||
you dressing up for a purpose, to use an mal met a for for the female | :03:57. | :04:04. | |
struggle. The problem hasn't gone away, I did a donkey for a while. | :04:04. | :04:07. | |
Even donkey journalists hate donkey comics. You do a bit about | :04:07. | :04:11. | |
switching on to you which, and you happen to tune in to five minutes? | :04:11. | :04:18. | |
I was flicking through, and these two girls, they were gorgeous and | :04:18. | :04:23. | |
talking about a quiz night. But how they were getting to ready to go to | :04:23. | :04:29. | |
a quiz night, by having botox done before they went there. Is this how | :04:29. | :04:35. | |
we're getting ready, we have toxin, which can cause a life threatening | :04:35. | :04:41. | |
illness, pumped into 18 years old faces to answer trivia. 20 Years | :04:41. | :04:46. | |
ago, when I would go out a quiz night, I would read up on my | :04:46. | :04:49. | |
general knowledge. Bridge jit is embarking on a Europe-wide tour | :04:49. | :04:54. | |
next month. Next up, entire delegation from | :04:54. | :05:01. | |
South Africa, has been among the big hitters in this festival. From | :05:01. | :05:05. | |
traditional, to Eddie Izzard, Trevor Noah. It is the perfect | :05:05. | :05:11. | |
South African drink, what's this supposed to mean, it is 90% black. | :05:11. | :05:18. | |
The white is still on top. garnering five star reviews all- | :05:18. | :05:24. | |
round has been Yael Farber Mies Julie, she transports the action to | :05:24. | :05:32. | |
modern day South Africa. Because you're drunk tonight. Julie won the | :05:32. | :05:37. | |
award, she's transfered to London in the year. Living up to | :05:37. | :05:43. | |
reputation as one of the best venues, The Trav verse has offered | :05:43. | :05:50. | |
a good line-up. Born to Run, the true story and Beats, rave culture | :05:50. | :05:56. | |
and rebellion. However the biggest buzz has been Rob Drummond, sellout | :05:56. | :05:59. | |
Bullet Catch, surrounded around the dangerous stunt which claimed the | :05:59. | :06:06. | |
lives of 12 illusionists. The first idea to do the Bullet Catch or the | :06:06. | :06:09. | |
great story of illusionist who was killed during the particular. | :06:09. | :06:13. | |
first idea is I loved magic and need do a show. What's the most | :06:13. | :06:18. | |
extreme show coy do, and one answer, and that's a Bullet Catch. Just | :06:18. | :06:22. | |
before you do the Bullet Catch trick the audience become rattleed? | :06:22. | :06:27. | |
I give them the opportunity to leave F they don't want to watch it. | :06:27. | :06:31. | |
And people have been taking up that opportunity. And leaving the | :06:31. | :06:35. | |
auditorium. You see audience members covering their faces and it | :06:35. | :06:38. | |
is satisfying to see that, because it means the show is working. | :06:38. | :06:43. | |
you get nervous? Yeah I do. No matter how many times do you that, | :06:43. | :06:49. | |
facing a complete stranger with a gun, point directly at your surveys | :06:49. | :06:53. | |
unnerveing, just before you pull the trigger. Do you think I would | :06:53. | :06:57. | |
be a suitable candidate to demonstrate? Over the course of the | :06:57. | :07:02. | |
interview, I have got to know you and trust you, I would like you to | :07:02. | :07:12. | |
:07:12. | :07:40. | ||
You're a genius, oh my days, well done for you. How are you feeling? | :07:40. | :07:45. | |
Shaky. You can have that. Round of applause for sap Sue. I didn't kill | :07:45. | :07:52. | |
anyone. You have no idea how many fringe performance toss get that | :07:52. | :08:02. | |
:08:02. | :08:11. | ||
right. My final pick is Tony Law. like the way your meat is held | :08:11. | :08:17. | |
together with a skin sack. Well the lads fell about. It was brilliant | :08:17. | :08:22. | |
banter. The thing you can critical about comedy, but in a positive and | :08:22. | :08:26. | |
sweet way, and particularly effective thing is a catch phrase, | :08:26. | :08:31. | |
which is you say a series of terrible trueisms or awful, | :08:31. | :08:37. | |
offensive things, and you go, banter. Where did that come from? | :08:37. | :08:42. | |
Oh, just hearing and being around banter, overhearing it on trains, | :08:42. | :08:46. | |
and banter lads, banterings and then they do the most more risk | :08:47. | :08:52. | |
thing about woim, but then it is just banter. The little things that | :08:52. | :08:58. | |
bleed into bigger things, "Course that's what she's like the wife"s | :08:58. | :09:05. | |
just banter. I just to sit with my notebook out, doing banner and | :09:05. | :09:10. | |
steal it. The last few minutes of the show is magical funny moments. | :09:10. | :09:15. | |
Just beautiful and lovely. Where did the idea come from? The last | :09:15. | :09:19. | |
three years in a row, with the kids, I watch the way they light things | :09:20. | :09:23. | |
and do things, and the way they connect to children. It is hard to | :09:23. | :09:27. | |
connect with children, if do you, that's something special. I've been | :09:27. | :09:31. | |
trying to learn and absorb from things like that. If you engage | :09:31. | :09:34. | |
with children, engage with adults that way, that's why the lighting | :09:34. | :09:39. | |
of the business went on. I loved it, thank you for sharing it with us. | :09:39. | :09:45. | |
Thank you so much for having me. Tony will be playing the theatre in | :09:45. | :09:50. | |
London in October. If you're at home playing beard cricket, I'm | :09:50. | :09:57. | |
delighted to teld you, Tony Law and combination score a six. Next up, | :09:57. | :10:01. | |
Booker Prize winner author, Howard Jacobson is in town talking about | :10:01. | :10:06. | |
his new work, Zoo Time at the book festival. In is themes of zierks | :10:06. | :10:12. | |
disappointment, death of a novel and mother in laws, Tim Samuels | :10:12. | :10:18. | |
went to meet him. Howard Jacobson made a career of writing about very | :10:18. | :10:24. | |
funny, literary, typically northern, Jewish man, and latest novel, Zoo | :10:24. | :10:30. | |
Time is no exception. Howard, lovely to see you again. How are | :10:30. | :10:37. | |
you. This time is anti-hero as comic writer whose career has seen | :10:37. | :10:42. | |
better days. He's also a married man, wildly in love with fiery | :10:42. | :10:49. | |
flame haired wife, Vanessa. By extension, her vivacious mother, | :10:49. | :10:54. | |
Poppy. Normally I presented her a type script hot from my computer. | :10:54. | :10:59. | |
How do you give your wife a novel about a man whose in love with his | :10:59. | :11:06. | |
wife's mother. I denied the similarity of course this, is a | :11:06. | :11:10. | |
work of fiction, any resemblance between characters living or dead, | :11:10. | :11:15. | |
but she never swallowed that. Which left me with two courses of action, | :11:15. | :11:20. | |
either risk ending the marriage, or not write the book. I imagine this | :11:20. | :11:25. | |
was good fun to write? More fun that I've ever had writing a book, | :11:25. | :11:31. | |
the most fun, I had. The niceest thing you say is, it feels it was | :11:31. | :11:37. | |
fun to write, because that means it is fun to read. I do like writing | :11:37. | :11:40. | |
about mothers and daughters, there's always a fascination | :11:40. | :11:44. | |
between the love between them, the ways in which they lookalike, how | :11:44. | :11:49. | |
they walk and move together. The painful rivalries, not admitted | :11:49. | :11:53. | |
between them. That itself is a great subject. The character, Guy | :11:54. | :11:58. | |
Ableman, what kind of a guy? This is a guy who would love to be a | :11:58. | :12:04. | |
wild man. He would be lawless. I understand this. He is a nice | :12:04. | :12:08. | |
person, he's brought up to be a nice person, and would like to be a | :12:08. | :12:12. | |
bad person. Affair with your mother-in-law, how much more | :12:12. | :12:16. | |
shocking alass he could shock the world with it. Then you have the | :12:16. | :12:22. | |
ridiculous industry as portrayed here, the bedeath of fiction, where | :12:22. | :12:28. | |
fads, constantly changing. It is a toxic mix to have the industry and | :12:28. | :12:32. | |
psyche together? What was the buzzword last year," Readable" a | :12:32. | :12:41. | |
book had to be "readable", last year, it was "unput downable". Put | :12:41. | :12:45. | |
it down, laugh, scream, cry, throw it across the room, take a note, | :12:45. | :12:53. | |
open the windows, put it down! year, he wanted to have a thousand | :12:53. | :12:58. | |
story apps ready to go for the mobile phone market, bus stop | :12:58. | :13:02. | |
reading he called it, unbooks, that could be started and finished while | :13:02. | :13:06. | |
phone users were waiting for someone to call them back, or the | :13:06. | :13:11. | |
traffic lights to change or waiter to arrive with the bill. In short | :13:11. | :13:18. | |
to plug those small, social hiatuses of life on the run. | :13:18. | :13:22. | |
struck me as confident book, I wonder having won the booker you | :13:22. | :13:26. | |
were in a position where you could put your head above the parapet. | :13:26. | :13:31. | |
This novel was started six months before I won the Man Booker, at a | :13:31. | :13:35. | |
time I had no belief, I thought my career was coming to an end, what | :13:35. | :13:40. | |
will I do. I'll go down fighting and write a funny novel about the | :13:40. | :13:46. | |
end of it all, like a suicide note. Half way through, I go and win the | :13:46. | :13:48. | |
Man Booker Prize, which I thought probably would be the end of this | :13:48. | :13:52. | |
book. And then I had a bleak thought, I thought what if the | :13:52. | :13:58. | |
novel would be my best novel ever, my funniest best novel ever. And if | :13:58. | :14:03. | |
the Man Booker Prize ruined it? Man Booker Prize ruins great novel. | :14:03. | :14:07. | |
What if that snaps you had to be a writer to invite the trouble, you | :14:07. | :14:11. | |
had to be a writer to be prepared to put your life into a sort of | :14:11. | :14:16. | |
suss expense, while the story of what would happen, had its way with | :14:16. | :14:22. | |
you. I didn't give a figure for happiness. I was after bigger, | :14:22. | :14:27. | |
dirtier fish. The truth is this. I do not believe there is or has been | :14:27. | :14:31. | |
a writer alive that doesn't somewhere in his soul wonder if he | :14:31. | :14:37. | |
is any good or she is any good or not. It is like being Usain Bolt, | :14:37. | :14:41. | |
it can't be measured or proved, you never know, so I think, anything | :14:41. | :14:45. | |
that feels like a confirmation, of something that you hope might be | :14:45. | :14:48. | |
the case, that you are all right, that you can do it, that you | :14:48. | :14:52. | |
haven't been fooling yourself, comes as a huge relief. You were | :14:52. | :15:01. | |
runing in the right race. And not just running, you were winning it. | :15:01. | :15:07. | |
Well that's the most erotic use of lost property I've seen. Afternoon | :15:07. | :15:14. | |
Mam. I think she lost a hip there. | :15:14. | :15:18. | |
the Edinburgh Festival showcases the finest singers, we think the | :15:18. | :15:22. | |
one to watch is Iestyn Davies. Clemency Burton-Hill went to talk | :15:22. | :15:32. | |
:15:32. | :15:36. | ||
The rock stars of the opera and classical world are the tenors, the | :15:36. | :15:42. | |
lovers and heroes, famed and adored for the power of their top note, | :15:42. | :15:49. | |
the sensational high C. But what about a beautiful male | :15:49. | :15:59. | |
:15:59. | :16:03. | ||
voice that can go even higher than the high C? | :16:03. | :16:09. | |
Some think of it as surprising, unnerveing and confusing but often | :16:09. | :16:13. | |
other worldly the distinctive voice of the countertenor. Resonateing as | :16:13. | :16:19. | |
one of the world's young counter tenors is the Iestyn Davies and | :16:19. | :16:29. | |
:16:29. | :17:04. | ||
lucky me, I get to hang out with I know auf glamorous life as an | :17:04. | :17:09. | |
opera singer, so I thought I would take you to the finest gastronomic | :17:09. | :17:13. | |
experience. What are you having? Scam by and chips. Kech | :17:13. | :17:18. | |
championship I loathe that. Do you ever find people are surprised and | :17:18. | :17:23. | |
shocked when they hear you sing? Well there's been a couple of | :17:23. | :17:27. | |
occurrences where there's people not expecting to hear a man sing in | :17:27. | :17:33. | |
this way. They see the face, they see your | :17:33. | :17:38. | |
beard or whatever, standing there, and then you have this other | :17:38. | :17:42. | |
worldly sound coming out of you, so they're thrown by it. Give us the | :17:42. | :17:48. | |
basics, what is a countertenor? is a name given to a male singer | :17:48. | :17:54. | |
who uses their fall sella range, it is the sound you would hear, if you | :17:54. | :18:01. | |
were listening to the Bee Gees. for example I took these chips and | :18:01. | :18:07. | |
they say represented, the sorrowcal chords, very bad greasy chords, | :18:07. | :18:12. | |
when a normal singing voice, active vaits and vibrate to a different | :18:12. | :18:18. | |
fashion, and part of the vocal folds vibrate, I could give you the | :18:18. | :18:21. | |
impression if I was talking now, and then I want to talk like that, | :18:21. | :18:27. | |
that's fall seta. And it is much harder when you've eaten chips. So | :18:27. | :18:33. | |
is that the same, we hear about the castrato? The castrati, were | :18:33. | :18:38. | |
popular in the 18th century. The thing about them, was they had be | :18:38. | :18:44. | |
castrated, so this had happened. The end of the puberty, they | :18:44. | :18:49. | |
preserveed their treble voice and ended up having a power of a tenor, | :18:49. | :18:54. | |
Pavarotti power, but with the straipg other worldly voice. | :18:54. | :18:59. | |
castrati were the world's first superstars, and had a remarkable | :18:59. | :19:04. | |
effect on the female audience as explored about the most famous bun, | :19:04. | :19:09. | |
Yael Farber. You haven't had to go through? | :19:09. | :19:14. | |
seta is a completely different skill, the repertoire they sang now | :19:14. | :19:24. | |
:19:24. | :19:31. | ||
The international festival careies on throughout the weekend and end | :19:31. | :19:38. | |
with a spectacular concert on Sunday. Octopus, limbed becameer | :19:38. | :19:44. | |
head, Russell Kane is doing the double. He is at the book festival, | :19:44. | :19:48. | |
discussion the humanist, I waited with a large net outside a book | :19:48. | :19:53. | |
store with him and I caught him. few of my men are having to have | :19:53. | :19:59. | |
sprogs, it scares me the level of love, that some of you men feel, | :19:59. | :20:05. | |
there's a violence I don't understand. When I look at my buoy, | :20:05. | :20:13. | |
I never fucking felt anything like it in my life, if anyone looked at | :20:13. | :20:18. | |
him I would fucking, if the nurse looked at him, I stabbed her in the | :20:18. | :20:26. | |
fucking face, I weren't having it. Rustle, your CV has got august, not | :20:26. | :20:31. | |
amazing comedy, but you're author, with a capital A, tell bus the | :20:31. | :20:37. | |
book? It is about Benjamin White, he has humour, he can perceive it, | :20:37. | :20:44. | |
but he is not butt it emotional. He discovers humour so pure it can | :20:44. | :20:50. | |
kill. The main character is devoid of empathy, and he happens to be a | :20:50. | :20:55. | |
critic. He actually, started from, when I started comedy, to me, I was | :20:55. | :21:02. | |
going, leaving work and thinking, I have to do comedy, I'm so lucky, | :21:02. | :21:07. | |
there was miserable people with note boot, which weirdly had a | :21:07. | :21:11. | |
person nationality transplant when think got on stage, so critic, | :21:11. | :21:15. | |
clinically outside the very thing which is the connoisseur, that's | :21:15. | :21:22. | |
how it started. I'm not cold just locked in "like jokes that misfire, | :21:22. | :21:26. | |
even though their construction is perfect. Thiss puzzle, even me for | :21:26. | :21:32. | |
a moment at least. The circus gag, flawless in the make-up, tonely | :21:32. | :21:39. | |
hond, with a rightful inflection to a room full of people, yet it falls | :21:39. | :21:43. | |
flat, they cannot ethe knots and strands around the idea, how it | :21:43. | :21:47. | |
looks on to the mood and matter on the room, its shape and light, no | :21:47. | :21:52. | |
joke is perfect you see, environment shapes even plaitium | :21:52. | :21:56. | |
material." What's your experience of critical? I've never really got | :21:56. | :22:01. | |
like a panic. There's a couple of guys, that don't get what do I, and | :22:01. | :22:08. | |
I get swipey, three star stuff, but I've been lucky. That's not fair, | :22:08. | :22:18. | |
:22:18. | :22:20. | ||
some children just refuse to eat, bollocks. If he saw spin yach, he | :22:20. | :22:26. | |
would fall. Funny how this diet is not a Somalia. Talk about the | :22:26. | :22:31. | |
festival this year, your show, you always like themes, this is I love | :22:31. | :22:36. | |
the theme this, is about fatherhood, you coming of age. At least in your | :22:36. | :22:40. | |
imagination? Absolutely. That is the one playful thing do I with | :22:40. | :22:45. | |
critics, you have to spot where they come from, but the show title | :22:45. | :22:49. | |
is come from a negative mark within a review. This year, I wanted to | :22:49. | :22:55. | |
talk about having kids, but someone said he has nice material but a lot | :22:55. | :23:01. | |
is a posturing delivery. Brilliant, it's a pun on posturing, as | :23:01. | :23:05. | |
positying, hypothetical delivery, all the words were packed in | :23:05. | :23:10. | |
posturing delivery, and we were off. You want to experience everything, | :23:10. | :23:14. | |
when you fantasies everything, I would love one, I want to | :23:14. | :23:19. | |
experience everything, emotionally that a father would experience, I | :23:19. | :23:24. | |
want a boy, girl and bay... I would be one of the few fathers, I want | :23:24. | :23:31. | |
to tell you, papya, come in, oh I'm so excited... | :23:31. | :23:41. | |
:23:41. | :23:44. | ||
Glitter canyons going off. I know, You can check out rustle on tour | :23:44. | :23:49. | |
from October, and on BBC Three tomorrow night. A most striking | :23:49. | :23:53. | |
displace of the Edinburgh fest rational is diaries of Dieter Roth. | :23:53. | :23:58. | |
Roth was one. First artist toss really explores the idea of life in | :23:58. | :24:04. | |
his art and suck suck suck went to devil in his world. That's Michael | :24:04. | :24:10. | |
Anglo, it is for kitty, who simply won't wear a cardigan, likes to | :24:10. | :24:20. | |
:24:20. | :24:31. | ||
You know how people don't like contemporary art, complain it is a | :24:31. | :24:38. | |
pile of rubbish, today I'm to see a man who helped embed that idea, by | :24:38. | :24:48. | |
:24:48. | :24:57. | ||
transforming one of the stuff our This is a work called Flat Waste, | :24:57. | :25:02. | |
and by the Swiss-German artist, Dieter Roth. It looks like an | :25:02. | :25:06. | |
important archive, but these hundreds of folders aren't filled | :25:07. | :25:10. | |
with precious document, instead they contain personal waste collect | :25:10. | :25:17. | |
of a course of a year in the mid-7 0s, by the artist, some of the | :25:17. | :25:22. | |
trash is disgusting. My first impression, flicking through this, | :25:22. | :25:29. | |
is a madness at work here. Because, Roth collected all manner of | :25:29. | :25:37. | |
pointless things, stubed out fag butts, coffee cup lids, old | :25:37. | :25:42. | |
crumbleed beer mats and razor blade which has stuff in the mettle Then | :25:42. | :25:47. | |
you have things like, what is that, it is like a piece of an envelope, | :25:47. | :25:52. | |
which is a tiny scrap of paper. There's no reason why this should | :25:52. | :25:57. | |
be preserveed, you'd think. When these are confronted with scraps of | :25:57. | :26:02. | |
life, makes you piece together. I feel like I'm in a episode of CSI, | :26:02. | :26:07. | |
you have to piece the story, of Dieter Roth's life. Dieter Roth was | :26:08. | :26:12. | |
born in 1930. He trained as a commercial artist, but when he came | :26:12. | :26:17. | |
into contact with modernism and constructiveism, the idea of art | :26:17. | :26:22. | |
that could bring about social change transformed his outlook. He | :26:22. | :26:27. | |
is mostly famous for the avant- garde work, when he created work | :26:27. | :26:31. | |
using organic material, such as cheese, chocolate and rabbit | :26:31. | :26:35. | |
dropings, and Flat Waste, constain some strange materials as well. | :26:35. | :26:41. | |
Well, here, look at this, by the looks of things it is a scrum | :26:41. | :26:48. | |
pelled up tissue, which spots of blood, or a bit like ear wax. | :26:48. | :26:51. | |
Initially it would be easy to dismiss this, and say, well, here | :26:51. | :26:57. | |
we have the outpowerings of detraipged hoarder, but actually, I | :26:57. | :27:01. | |
think there's a deep thinking artistic intelligence, motivating | :27:01. | :27:06. | |
his work, because Flat Waste belongs to a long tradition within | :27:06. | :27:13. | |
the tradition of art, which is self-portrait. A portrait of the | :27:13. | :27:22. | |
artist created by the rubbish and waste that he's left behind. The | :27:22. | :27:24. | |
show here at the fruit market is called Dieter Roth: Diaries and | :27:24. | :27:28. | |
appropriately enough we have a table load of the things. But the | :27:28. | :27:31. | |
ultimate example of him recording his day to day activities isn't | :27:31. | :27:41. | |
:27:41. | :27:47. | ||
This is a quite extraordinary work, when you think about its context, | :27:47. | :27:52. | |
it is called Solo Scenes and consists of 128 screens, set across | :27:52. | :27:58. | |
three banks, and in each one, we see the artist, in his various | :27:58. | :28:02. | |
studios around the world, going about his day to day business, in | :28:02. | :28:07. | |
the final year of his life. He knew he had a heart condition. His | :28:07. | :28:11. | |
doctors had told him he need to have an operation, he refused to | :28:11. | :28:15. | |
have the operation. He didn't want to have it. So you see here, a man, | :28:15. | :28:25. | |
:28:25. | :28:27. | ||
an old man, infirmed man, a weak man, confronting his own mortality. | :28:27. | :28:30. | |
His son and long time collaboratetor, is now the | :28:31. | :28:37. | |
custodian of his falter's work. always found it interesting, and | :28:37. | :28:44. | |
typical for him, this discipline to do that. Because, he had, he didn't | :28:44. | :28:48. | |
like his figure, he didn't like how he looked, how sick he looked and | :28:48. | :28:54. | |
fat and old and all that. But somehow he had the courage to just | :28:54. | :29:01. | |
do that. There, he has his head in his hands, here he's having trouble | :29:01. | :29:07. | |
breathing. And he is waiting for the pain to pass. Often we see him | :29:07. | :29:11. | |
in very unflattering situations, well there, he's sitting on the | :29:11. | :29:17. | |
toilet. Yeah, but that's a visual, real diary, his daily life, and it | :29:17. | :29:20. | |
is what it is. When you see this work realised in the gallery, how | :29:20. | :29:26. | |
do you feel? He's so close? years after he died, he died, I | :29:26. | :29:31. | |
installed it three or four times in different place, I never could look | :29:31. | :29:37. | |
at t but slowly I'm able to look at it. When you feel, what do you feel | :29:37. | :29:47. | |
:29:47. | :29:48. |