1 00:00:33,784 --> 00:00:35,952 We had to trim this tree back. 2 00:00:36,078 --> 00:00:38,579 It was blocking all the light. 3 00:00:43,585 --> 00:00:48,089 I set out on a series of trips, filming here and there... 4 00:00:49,216 --> 00:00:52,301 faces and words, museums, rivers, and art. 5 00:00:59,685 --> 00:01:02,562 I listened to people I met — sometimes by chance — 6 00:01:02,813 --> 00:01:04,939 AGNÈS VARDA FROM HERE TO THERE 7 00:01:05,065 --> 00:01:07,316 especially artists whose work I like. 8 00:01:24,001 --> 00:01:26,043 When I returned from my first trip, 9 00:01:26,169 --> 00:01:28,421 the tree already had new shoots. 10 00:01:29,590 --> 00:01:32,925 I continued my travels, by train or plane, 11 00:01:33,051 --> 00:01:36,470 filming in every city, not to file a report, 12 00:01:36,597 --> 00:01:39,849 but to capture fragments, moments, people. 13 00:01:40,100 --> 00:01:42,101 The tree was coming back to life. 14 00:01:42,894 --> 00:01:45,438 I came and went... 15 00:01:45,564 --> 00:01:49,025 and Jean-Baptiste and I edited the material I'd gathered. 16 00:01:53,822 --> 00:01:57,491 But long before I completed my journeys and my work, 17 00:01:57,743 --> 00:01:59,994 which lasted well over a year, 18 00:02:00,120 --> 00:02:03,623 the tree, with new shoots and leaves, 19 00:02:03,957 --> 00:02:08,127 had grown back all its foliage in less than three months. 20 00:02:08,295 --> 00:02:11,631 You see the process here in under two minutes. 21 00:02:11,757 --> 00:02:15,593 And viewers will see these chronicles over several days. 22 00:02:16,303 --> 00:02:19,555 So this series shoots and leaves, so to speak. 23 00:02:22,309 --> 00:02:24,852 We'll be visiting many artists in France 24 00:02:25,145 --> 00:02:27,188 at the Lyon Biennial, 25 00:02:27,314 --> 00:02:29,649 and with Pierre Soulages in Sète. 26 00:02:38,825 --> 00:02:41,035 Rivers bring to cities 27 00:02:41,244 --> 00:02:44,163 their movement, vitality, and energy. 28 00:02:44,790 --> 00:02:48,709 Thus, Lyon has brought artists from all over 29 00:02:48,835 --> 00:02:51,003 to its 2009 Biennial. 30 00:02:51,672 --> 00:02:55,383 It's held in a former sugar mill, now renovated. 31 00:02:55,592 --> 00:02:59,178 10TH LYON BIENNIAL THE SPECTACLE OF THE EVERYDAY 32 00:02:59,971 --> 00:03:02,848 Hou Hanru is the curator. 33 00:03:03,266 --> 00:03:07,186 It's called "The Spectacle of the Everyday." 34 00:03:07,479 --> 00:03:09,230 The idea... 35 00:03:10,232 --> 00:03:13,067 is to show that... 36 00:03:13,860 --> 00:03:18,114 perhaps now is the time to look at things we've previously ignored. 37 00:03:19,366 --> 00:03:21,492 To reorient the spotlight 38 00:03:21,618 --> 00:03:25,037 toward something we experience but don't talk about, 39 00:03:25,163 --> 00:03:28,040 that we have no words or images for. 40 00:03:28,208 --> 00:03:31,293 It's a big collective show, and I'm invited. 41 00:03:33,004 --> 00:03:35,339 I love to watch the preparations 42 00:03:35,882 --> 00:03:39,009 and see how installations are installed. 43 00:03:57,863 --> 00:04:02,074 For my shacks, corrugated metal siding is assembled... 44 00:04:02,242 --> 00:04:04,493 panels of images are hung... 45 00:04:04,911 --> 00:04:07,663 a temporary beach is brought in... 46 00:04:14,713 --> 00:04:17,423 and a plasma screen is installed. 47 00:04:18,008 --> 00:04:20,259 Further along, strips of film are hung 48 00:04:20,385 --> 00:04:23,262 to create the walls of my film shack. 49 00:04:28,226 --> 00:04:32,438 My closest neighbors are Chinese, like Yang Jiechang, 50 00:04:32,689 --> 00:04:35,691 who brought pieces of bone in enameled ceramic. 51 00:04:36,443 --> 00:04:38,527 3,300 pieces, I'm told. 52 00:04:40,363 --> 00:04:42,948 And placemats in tissue paper. 53 00:04:47,287 --> 00:04:51,624 He numbers and signs each piece and presents them tidily. 54 00:05:00,425 --> 00:05:03,928 Sarah Sze installed fragile elements. 55 00:05:04,054 --> 00:05:06,639 Hers is a quivering world, full of surprises. 56 00:05:13,313 --> 00:05:18,150 An untitled sphere with a name: Portable Planetarium. 57 00:05:20,987 --> 00:05:23,614 At the Cartier Foundation 58 00:05:23,740 --> 00:05:28,160 she'd exhibited a giant mobile made of found objects. 59 00:05:33,500 --> 00:05:37,503 Takahiro Iwasaki kneels by his work. 60 00:05:57,107 --> 00:06:01,694 As the word "Hiroshima" rings in my head like a horrible gong, 61 00:06:02,112 --> 00:06:04,738 I contemplate the work of this delicate young man 62 00:06:04,865 --> 00:06:08,367 who, with thread pulled from the stacked material, 63 00:06:08,577 --> 00:06:12,371 makes the Lilliputian towers he proudly presents. 64 00:06:17,544 --> 00:06:20,963 Pedro Reyes displays shovels... in spades! 65 00:06:21,381 --> 00:06:24,508 It's a thin line between an art exhibit 66 00:06:24,634 --> 00:06:26,802 and a store display. 67 00:06:28,096 --> 00:06:31,557 Michael Lin brought an entire store from China. 68 00:06:32,851 --> 00:06:36,020 This is from a neighborhood hardware store in Shanghai. 69 00:06:36,146 --> 00:06:38,564 We bought the whole thing. 70 00:06:39,900 --> 00:06:42,276 It all made the trip to Lyon. 71 00:06:48,033 --> 00:06:50,159 But Michael highlights each object 72 00:06:50,660 --> 00:06:53,871 by displaying each as if in an interior design store. 73 00:06:55,415 --> 00:06:58,125 This is indeed the spectacle of the everyday, 74 00:06:58,251 --> 00:07:00,419 and the society of spectacle. 75 00:07:01,838 --> 00:07:05,090 There's even a video of jugglers to entertain shoppers. 76 00:07:07,427 --> 00:07:10,763 There are lots of artists from the Orient here! 77 00:07:10,931 --> 00:07:12,973 You could say that. 78 00:07:13,099 --> 00:07:17,102 It depends how you look at it, from what angle. 79 00:07:17,270 --> 00:07:21,482 If you're in Tokyo, America is the Orient. 80 00:07:21,858 --> 00:07:24,735 If you're in Paris, 81 00:07:24,903 --> 00:07:29,365 then yes, the Orient is Japan, China, etc. 82 00:07:29,658 --> 00:07:33,953 - We're in Lyon. - Yes, so you're right. 83 00:07:34,204 --> 00:07:36,705 We have quite a few artists 84 00:07:36,957 --> 00:07:39,291 who've come from east of Lyon... 85 00:07:39,417 --> 00:07:43,295 including Strasbourg, Germany, etc. 86 00:07:44,756 --> 00:07:48,050 It is indeed all a bit mixed up, 87 00:07:48,176 --> 00:07:51,303 but it accurately reflects 88 00:07:51,429 --> 00:07:53,973 the concept of the world today: 89 00:07:54,099 --> 00:07:56,058 a mixed-up world. 90 00:07:57,560 --> 00:08:00,145 Soccer - that's concrete! 91 00:08:00,855 --> 00:08:04,900 The Yangjiang Group even made it their reason for being here. 92 00:08:05,610 --> 00:08:08,737 They gathered around a table to eat, drink... 93 00:08:09,656 --> 00:08:11,448 and bet large sums of money 94 00:08:11,574 --> 00:08:14,243 on soccer games throughout the world. 95 00:08:21,543 --> 00:08:24,003 The girls announce bets. 96 00:08:31,594 --> 00:08:34,972 They still found time to come see my film shacks. 97 00:08:41,521 --> 00:08:45,524 What must they think of Catherine Deneuve and Michel Piccoli? 98 00:08:46,901 --> 00:08:49,695 Their interpreter murmurs "New Wave." 99 00:08:54,159 --> 00:08:57,411 I'm glad they visited the inhabitants of Noirmoutier. 100 00:09:01,916 --> 00:09:04,877 Here, Chinese men from the Guangdong region... 101 00:09:05,045 --> 00:09:06,920 west of Canton... 102 00:09:07,255 --> 00:09:10,340 gaze at the women of Noirmoutier Island. 103 00:09:22,604 --> 00:09:24,855 It's Mr. Button! 104 00:09:25,106 --> 00:09:27,024 Michel Jeannès. 105 00:09:27,233 --> 00:09:30,402 My acquaintance from Lyon! I have something for you. 106 00:09:31,237 --> 00:09:34,073 Look what I brought you from England. 107 00:09:34,491 --> 00:09:36,533 Chocolate buttons. 108 00:09:38,870 --> 00:09:40,913 Everyone calls me Mr. Button. 109 00:09:41,039 --> 00:09:44,416 I'm developing a practice of simple poetry involving this object. 110 00:09:44,834 --> 00:09:49,088 An artistic project I call "a zone of poetic intention" 111 00:09:49,214 --> 00:09:52,591 based on the button, the smallest common cultural object. 112 00:09:54,844 --> 00:09:57,596 When I find a button on the ground... 113 00:09:58,473 --> 00:10:00,682 I pick it up 114 00:10:00,934 --> 00:10:04,895 and note the time and place and what happened that day. 115 00:10:07,398 --> 00:10:11,401 These are buttons I found out in the world, 116 00:10:11,569 --> 00:10:14,738 and this is one of the notes I wrote. 117 00:10:16,950 --> 00:10:19,618 That same day? What did you write? 118 00:10:19,786 --> 00:10:24,790 "A black button on the going over Lafayette Bridge, 119 00:10:25,125 --> 00:10:28,710 and two identical white buttons on Guillotière Bridge." 120 00:10:34,425 --> 00:10:36,468 I found this one in Brest 121 00:10:36,594 --> 00:10:38,971 on May 14, 2008. 122 00:10:39,472 --> 00:10:41,265 You don't sew these on. 123 00:10:41,391 --> 00:10:43,642 You hammer them in. 124 00:10:43,810 --> 00:10:46,019 They're called "bachelor buttons." 125 00:10:48,064 --> 00:10:52,651 This is a year in the diary of a fibulanomist. 126 00:10:52,819 --> 00:10:55,195 Did you say "fibulanomist"? 127 00:10:55,321 --> 00:10:59,158 That's the word for "button collector." 128 00:11:00,827 --> 00:11:04,663 I distribute these cards. People take them. 129 00:11:04,998 --> 00:11:07,374 They add a button and a story. 130 00:11:07,500 --> 00:11:11,336 In ten years I've collected some 800 cards. 131 00:11:13,840 --> 00:11:17,634 Here a woman writes, "Here is the story of my button. 132 00:11:17,760 --> 00:11:21,221 It bears an anchor, a souvenir from the Marines, 133 00:11:21,347 --> 00:11:24,975 reminding me of my lost loves, alas so long ago now. 134 00:11:25,185 --> 00:11:26,768 I was 20. 135 00:11:26,895 --> 00:11:30,480 I remember a Marine I liked, on the Joan of Arc, 136 00:11:30,607 --> 00:11:33,442 a training ship in Mers-el-Kébir, Algeria. 137 00:11:33,568 --> 00:11:35,694 That's my whole story." 138 00:11:36,279 --> 00:11:39,781 And they're fine with you revealing their stories? 139 00:11:40,575 --> 00:11:42,868 Yes, they're fine with it. 140 00:11:42,994 --> 00:11:45,621 I think they're happy. 141 00:11:46,581 --> 00:11:49,666 The idea of buttons at the heart of my work 142 00:11:49,792 --> 00:11:52,211 goes along with the collective aspect. 143 00:11:52,629 --> 00:11:55,464 It's participatory. People bring a lot to it. 144 00:11:55,590 --> 00:11:57,341 Mostly women? 145 00:11:57,467 --> 00:12:00,219 Yes, mostly women. 146 00:12:02,972 --> 00:12:05,224 We're going to La Duchère, 147 00:12:05,391 --> 00:12:08,477 where he's been establishing connections. 148 00:12:08,686 --> 00:12:11,730 I wrote to the locals. "Hello, I'm a poet. 149 00:12:11,856 --> 00:12:14,650 I work with objects. Objects have memories. 150 00:12:15,193 --> 00:12:17,194 Especially buttons." 151 00:12:17,654 --> 00:12:21,573 I used to play with my mother's box of buttons. 152 00:12:22,116 --> 00:12:26,787 I sensed they had stories to tell connected with our mothers... 153 00:12:26,913 --> 00:12:28,914 a matrimony of sorts. 154 00:12:31,751 --> 00:12:34,336 We're at the home of Chantal Roberjot. 155 00:12:34,462 --> 00:12:38,257 She lodges a black cat and three elderly people. 156 00:12:38,549 --> 00:12:42,844 Chantal participated in Women's Heritage Days in 2003. 157 00:12:42,971 --> 00:12:45,764 I remember you brought your box of buttons. 158 00:12:48,601 --> 00:12:51,520 I want to show you this button. 159 00:12:51,646 --> 00:12:57,025 It belonged to a dress I got for my First Communion 160 00:12:57,277 --> 00:13:00,529 that I stupidly tore while riding my bike. 161 00:13:00,697 --> 00:13:02,656 I was so sad. 162 00:13:03,032 --> 00:13:06,576 Michel gave me the idea of letting my buttons speak. 163 00:13:07,161 --> 00:13:11,707 I had never put into words the emotions I felt 164 00:13:11,833 --> 00:13:14,584 rummaging through my buttons. 165 00:13:15,253 --> 00:13:19,298 This is Aïcha Benayad, a neighbor. 166 00:13:20,216 --> 00:13:23,635 I always resisted talking about my buttons. 167 00:13:24,846 --> 00:13:26,972 I'll show you the red ones. 168 00:13:27,140 --> 00:13:28,974 By color is nice! 169 00:13:29,309 --> 00:13:34,229 I bought these red buttons when my daughter was little. 170 00:13:35,481 --> 00:13:37,899 Time has passed so quickly. 171 00:13:38,026 --> 00:13:41,820 It's true that buttons are tiny little things, 172 00:13:42,155 --> 00:13:45,657 but my God, they're so loaded with memories... 173 00:13:46,743 --> 00:13:48,744 with culture, so many things! 174 00:13:51,414 --> 00:13:54,207 Do we need to organize this year? 175 00:13:54,334 --> 00:13:57,544 This cat's a little rascal. 176 00:13:59,088 --> 00:14:01,882 He has two buttons that talk too. 177 00:14:02,216 --> 00:14:04,509 His eyes are two talking buttons. 178 00:14:09,849 --> 00:14:12,684 This work is called Women's Secrets. 179 00:14:13,269 --> 00:14:16,646 It's a work in progress. I asked 100 women. 180 00:14:16,773 --> 00:14:19,191 About 75 replied. 181 00:14:20,860 --> 00:14:25,072 They write down a secret and sew it 182 00:14:25,198 --> 00:14:27,616 into these little canvases with buttons. 183 00:14:27,784 --> 00:14:32,329 The density and colors vary. Some are mother-of-pearl. 184 00:14:32,830 --> 00:14:37,292 We say, "My lips are sealed." Here the secret is sealed. 185 00:14:37,418 --> 00:14:40,545 Unspoken words are also contained here. 186 00:14:41,214 --> 00:14:43,423 Pain and things like that. 187 00:14:46,511 --> 00:14:50,055 For exhibitions, the thread side is shown. 188 00:14:51,224 --> 00:14:53,016 Have you read the secrets? 189 00:14:53,142 --> 00:14:56,895 No, I'm the keeper of the secrets entrusted to poetry. 190 00:14:57,021 --> 00:14:59,815 They're not meant to be read. 191 00:15:02,193 --> 00:15:03,735 Back to the Biennial... 192 00:15:04,070 --> 00:15:08,490 with its wall facing the Rhône and the press car. 193 00:15:14,872 --> 00:15:18,458 The expo features a graffiti artist whose work is never done. 194 00:15:18,584 --> 00:15:20,168 For good reason. 195 00:15:20,711 --> 00:15:24,256 The Yangjiang gang's performance lasted three days. 196 00:15:25,133 --> 00:15:27,759 Then they returned to Southern China, 197 00:15:27,927 --> 00:15:31,054 leaving behind a video of themselves, soccer predictions, 198 00:15:31,472 --> 00:15:34,099 and 120 empty bottles of Chinese beer. 199 00:15:35,184 --> 00:15:38,687 Here are a few, souvenirs of their stay. 200 00:15:40,064 --> 00:15:44,443 Their artwork is the remainders from their happening. 201 00:15:46,904 --> 00:15:49,281 The place is hopping... 202 00:15:49,615 --> 00:15:52,576 but few find their way to my hidden video. 203 00:16:03,921 --> 00:16:07,215 A beached whale angry at the state of the world. 204 00:16:29,655 --> 00:16:32,157 We block out violence as much as possible. 205 00:16:32,283 --> 00:16:34,618 We flee from it. It's only natural. 206 00:16:35,286 --> 00:16:37,162 I flee to Sète. 207 00:16:37,330 --> 00:16:40,874 I had filmed the people there on the beach one winter. 208 00:16:41,167 --> 00:16:44,336 I always enjoy arriving on the train along the water. 209 00:16:45,171 --> 00:16:47,839 I have so many memories here and there. 210 00:16:48,966 --> 00:16:52,093 Civette Bridge in the center of town... 211 00:16:53,596 --> 00:16:56,515 the Palais Consulaire of my teen years... 212 00:16:58,726 --> 00:17:01,686 the harbor, where you can see the sea... 213 00:17:02,188 --> 00:17:04,022 and on the other side of town, 214 00:17:04,190 --> 00:17:06,983 Thau Pond and La Pointe Courte, 215 00:17:07,109 --> 00:17:09,819 where I shot my first film. 216 00:17:11,197 --> 00:17:14,866 I have memories here, and even a lane bearing my name. 217 00:17:18,788 --> 00:17:22,374 I still know some fishermen, who've grown old along with me. 218 00:17:26,295 --> 00:17:29,047 Still the same nets, boathouses, and garages. 219 00:17:30,508 --> 00:17:33,385 I notice some stills from my film. 220 00:17:35,388 --> 00:17:37,722 These pictures were at the community center. 221 00:17:37,890 --> 00:17:40,225 They'd put them on the scrap pile. 222 00:17:40,351 --> 00:17:43,436 I said, "My whole family's here. I'm taking them!" 223 00:17:43,604 --> 00:17:46,064 Some nerve! Show me your family. 224 00:17:46,232 --> 00:17:49,317 How can you ask me who my family members are? 225 00:17:49,485 --> 00:17:51,653 My grandfather, my grandmother, 226 00:17:52,196 --> 00:17:54,239 my uncle, my brother, and me. 227 00:17:54,365 --> 00:17:56,366 Honestly! 228 00:17:56,492 --> 00:17:59,661 She asks as if she didn't know my family! 229 00:18:00,121 --> 00:18:02,414 I don't always know every name. 230 00:18:02,748 --> 00:18:04,874 - That's Louis. - My sweetheart. 231 00:18:05,001 --> 00:18:08,044 My brother. That's Joseph. 232 00:18:08,170 --> 00:18:09,879 And Raphaël in the film? 233 00:18:10,256 --> 00:18:11,965 I'm Raphaël! 234 00:18:12,091 --> 00:18:13,675 - In the film? - Yes. 235 00:18:13,801 --> 00:18:15,885 And your real name? 236 00:18:16,012 --> 00:18:19,431 - Agnès! - I'm losing my mind. 237 00:18:20,182 --> 00:18:21,891 Your first name? - Marcel. 238 00:18:22,018 --> 00:18:23,893 And you played Raphaël? 239 00:18:24,020 --> 00:18:26,104 - And your brother? - He didn't do anything. 240 00:18:26,272 --> 00:18:28,773 - His name? - He wasn't called anything. 241 00:18:29,942 --> 00:18:33,028 Agnès, you're losing it. 242 00:18:33,571 --> 00:18:35,447 Yes, I'm losing it. 243 00:18:35,615 --> 00:18:37,741 But I'm older than you! 244 00:18:37,867 --> 00:18:40,035 Sure, but still! 245 00:18:40,161 --> 00:18:41,786 Much older. 246 00:18:42,079 --> 00:18:44,122 In the film I was 23. 247 00:18:44,248 --> 00:18:46,958 And I was 26. Makes sense. 248 00:18:47,126 --> 00:18:48,418 Really? 249 00:18:48,544 --> 00:18:50,086 Our stories match. 250 00:18:50,254 --> 00:18:51,755 Okay. 251 00:18:52,465 --> 00:18:57,636 My heavens! We worked with Philippe Noiret and Sylvia Monfort. 252 00:18:57,887 --> 00:18:59,971 It was all new to me. 253 00:19:01,557 --> 00:19:04,392 Agnès came around to the house 254 00:19:04,810 --> 00:19:06,728 before the film 255 00:19:06,854 --> 00:19:09,606 and asked us questions. 256 00:19:09,982 --> 00:19:15,445 And she put everything we said into the film. 257 00:19:15,655 --> 00:19:17,697 She retraced... 258 00:19:18,407 --> 00:19:21,868 the story of my — 259 00:19:22,161 --> 00:19:24,663 That's my maternal grandmother. 260 00:19:24,997 --> 00:19:30,168 My grandfather didn't want to give his daughter to my father. 261 00:19:31,796 --> 00:19:33,755 - I'll teach you! - I did nothing wrong! 262 00:19:33,881 --> 00:19:35,882 You're too young to see boys. 263 00:19:36,008 --> 00:19:38,176 Mom got married at 19. 264 00:19:38,344 --> 00:19:41,513 - I played the role — - Of the young suitor? 265 00:19:41,681 --> 00:19:45,100 Of my father. I played the role of my father. 266 00:19:45,267 --> 00:19:47,560 You brought in this girl. 267 00:19:47,687 --> 00:19:51,773 Miss Banegas. She worked at the market. 268 00:19:51,899 --> 00:19:54,317 She played my mother. 269 00:19:54,610 --> 00:19:56,528 Oh, right. 270 00:19:56,696 --> 00:19:58,863 Is it coming back? 271 00:19:59,031 --> 00:20:00,907 It's coming back. 272 00:20:01,033 --> 00:20:03,326 I only have this film to remember. 273 00:20:03,452 --> 00:20:05,704 You have so many to mix up! 274 00:20:05,830 --> 00:20:08,123 You can't remember your first! 275 00:20:11,377 --> 00:20:14,045 Yet it's easy to remember the jousts. 276 00:20:14,171 --> 00:20:16,256 The ritual hasn't changed. 277 00:20:16,716 --> 00:20:19,426 These were filmed in 1954... 278 00:20:20,928 --> 00:20:23,513 and these, in summer of 2010. 279 00:20:23,639 --> 00:20:27,475 The latter take place at night, with no rowers. 280 00:20:34,525 --> 00:20:38,069 These are junior jousts, with motorboats. 281 00:20:38,904 --> 00:20:41,072 Some of the kids are very young. 282 00:20:41,240 --> 00:20:44,659 But it's the same waiting for a jouster to fall. 283 00:20:46,078 --> 00:20:48,079 And the same fun. 284 00:20:55,004 --> 00:20:57,088 This boy is declared winner, 285 00:20:57,339 --> 00:21:00,008 like the character of Raphaël in the film. 286 00:21:00,593 --> 00:21:05,054 When they make me champion, when I'm declared the winner, 287 00:21:05,181 --> 00:21:08,975 my future father-in-law is so happy I won all the jousts 288 00:21:09,101 --> 00:21:11,519 that he gives me his daughter. 289 00:21:13,272 --> 00:21:14,939 Here's Raphaël. 290 00:21:15,775 --> 00:21:17,942 How are you, my boy? - Fine. 291 00:21:18,319 --> 00:21:20,987 Nice tournament. Going to the dance tonight? 292 00:21:21,113 --> 00:21:22,655 What about it, Anna? 293 00:21:22,782 --> 00:21:24,574 Thank you. See you then. 294 00:21:26,535 --> 00:21:30,163 Now you talk to him and let him dance with Anna. 295 00:21:30,289 --> 00:21:31,790 You're a good man. 296 00:21:32,583 --> 00:21:34,667 He jousted well. 297 00:21:34,960 --> 00:21:36,920 He'll be a real man. 298 00:21:40,257 --> 00:21:43,218 Here's a man itching for a fight. 299 00:21:46,055 --> 00:21:47,806 Who's his enemy? 300 00:21:47,973 --> 00:21:49,641 Himself. 301 00:21:52,645 --> 00:21:56,898 This is a video by Cuban artist Alexandre Arrechea. 302 00:22:02,446 --> 00:22:06,658 We're at a temporary exhibition of Caribbean art. 303 00:22:08,285 --> 00:22:12,080 Further along, an icon of power by Hew Locke... 304 00:22:12,623 --> 00:22:15,083 with a cat. 305 00:22:19,171 --> 00:22:22,882 "Yum-yum!" says Thomas Vuille's cat, 306 00:22:23,008 --> 00:22:26,678 immortalized in Marker's film, The Case of the Grinning Cat. 307 00:22:27,304 --> 00:22:29,347 MIAM is the name of this museum, 308 00:22:29,515 --> 00:22:31,975 the International Museum of Modest Art. 309 00:22:32,101 --> 00:22:33,685 It's one of a kind. 310 00:22:34,895 --> 00:22:37,313 Hervé di Rosa with his paintings. 311 00:22:37,690 --> 00:22:41,025 He's a member of the Free Figuration movement. 312 00:22:41,694 --> 00:22:44,445 They borrow from comics, rock music, and graffiti. 313 00:22:48,409 --> 00:22:51,202 We're here to talk to him about MIAM, 314 00:22:51,328 --> 00:22:53,621 which he founded with Bernard Belluc. 315 00:22:53,831 --> 00:22:56,833 Each contributed his collection. 316 00:22:57,668 --> 00:23:00,003 Between the two of us, 317 00:23:00,129 --> 00:23:04,799 we have a good cross-section of modest, popular art. 318 00:23:04,925 --> 00:23:08,052 We thought, "Someday we'll open a museum." 319 00:23:10,681 --> 00:23:15,059 Here we have quite a complete collection of items, 320 00:23:15,769 --> 00:23:17,937 many of them manufactured, 321 00:23:18,230 --> 00:23:20,648 some of them hand-crafted, 322 00:23:20,983 --> 00:23:25,194 that were originally made for purely commercial purposes. 323 00:23:25,321 --> 00:23:27,906 Objects given away as prizes — 324 00:23:28,032 --> 00:23:30,909 like the famous prizes in Bonux detergent. 325 00:23:31,160 --> 00:23:33,077 A soda bottle... 326 00:23:33,287 --> 00:23:37,916 a yogurt with the expiration date on the lid, etc. 327 00:23:38,083 --> 00:23:40,126 When the ad campaign is over, 328 00:23:40,252 --> 00:23:42,378 when the product has been consumed, 329 00:23:42,504 --> 00:23:46,424 when the prize bores the kids and gets sold or thrown out, 330 00:23:46,550 --> 00:23:48,551 it takes on a poetic quality. 331 00:23:52,389 --> 00:23:56,935 Even some brands that produced thousands of prizes 332 00:23:57,102 --> 00:23:59,020 never kept any archives. 333 00:23:59,146 --> 00:24:01,439 Thanks to a few weirdos like us, 334 00:24:01,732 --> 00:24:04,067 this stuff is being archived. 335 00:24:06,654 --> 00:24:08,488 In 50 years' time, 336 00:24:08,614 --> 00:24:11,950 these things won't exist anymore because nobody cared. 337 00:24:12,326 --> 00:24:15,286 These once-useful objects 338 00:24:15,496 --> 00:24:18,039 lost their usefulness and were tossed aside. 339 00:24:18,207 --> 00:24:20,458 They're orphans of invention. 340 00:24:21,168 --> 00:24:23,461 All this stuff forms a family 341 00:24:23,629 --> 00:24:27,006 that no one ever really looked after. 342 00:24:27,132 --> 00:24:30,718 I call this family "modest art." These images and objects. 343 00:24:34,807 --> 00:24:37,392 Another temporary exhibition at MIAM 344 00:24:37,559 --> 00:24:40,144 explores the colorful world of wrestling. 345 00:24:40,896 --> 00:24:43,815 It has a catchy title: Kitsch Catch. 346 00:24:44,108 --> 00:24:47,318 There we discover a world of masks. 347 00:24:47,695 --> 00:24:50,405 Images of fervor and furor. 348 00:24:53,450 --> 00:24:55,368 A stroll by the harbor. 349 00:24:55,494 --> 00:24:58,997 Then, my usual hotel being full, I seek another one. 350 00:25:00,499 --> 00:25:02,250 More kitsch. 351 00:25:02,668 --> 00:25:05,503 I can choose between an all-white room — 352 00:25:06,797 --> 00:25:08,923 Now that's a feather bed! 353 00:25:12,803 --> 00:25:14,929 Or an all-black room. 354 00:25:15,723 --> 00:25:19,642 Black is a must, because the next day I'm visiting Pierre Soulages, 355 00:25:20,144 --> 00:25:23,771 the painter who works with black the way others work the soil. 356 00:25:28,360 --> 00:25:31,529 He lives on a hill, surrounded by trees, 357 00:25:32,031 --> 00:25:33,823 just past the harbor, 358 00:25:33,949 --> 00:25:36,200 between the museum and the Maison Vilar. 359 00:25:37,536 --> 00:25:42,040 When I saw this horizon, my heart leapt. 360 00:25:43,167 --> 00:25:45,752 My friends said, "Did you find your old house?" 361 00:25:45,878 --> 00:25:48,880 I said, "No, but I bought an empty horizon." 362 00:25:50,424 --> 00:25:53,509 He and his wife knocked down a shabby old place 363 00:25:53,635 --> 00:25:56,304 and drew up plans for their house. 364 00:25:57,222 --> 00:26:00,808 I spotted a place down below 365 00:26:01,143 --> 00:26:04,062 and decided to put my studio there. 366 00:26:04,229 --> 00:26:09,233 I don't like imposing studios, the kind that have... 367 00:26:09,985 --> 00:26:12,153 views in every direction. 368 00:26:12,321 --> 00:26:15,239 I'd be too tempted by the view. 369 00:26:16,575 --> 00:26:19,077 My studio is closed off from the sea, 370 00:26:19,286 --> 00:26:23,748 a place where I can focus completely 371 00:26:23,999 --> 00:26:26,042 on what I'm doing. 372 00:26:27,920 --> 00:26:31,005 When I set out this rock, I want privacy. 373 00:26:35,135 --> 00:26:37,720 It means I'm painting, I'm working. 374 00:26:37,846 --> 00:26:40,598 I insist on being alone. Everyone out. 375 00:26:40,724 --> 00:26:42,725 - Even Colette? - Yes. 376 00:26:43,602 --> 00:26:48,022 His wife, Colette, from Sète. A woman of immense discretion. 377 00:26:48,941 --> 00:26:51,776 When I first met Colette, 378 00:26:51,944 --> 00:26:54,112 we went to the Fabre Museum. 379 00:26:54,279 --> 00:26:56,948 We've been together ever since. 380 00:26:57,074 --> 00:26:59,784 It's been 68 years now. 381 00:27:01,078 --> 00:27:03,996 The Pompidou Center, the Museum of Modern Art. 382 00:27:04,373 --> 00:27:08,042 Over 500,000 people have come out of curiosity 383 00:27:08,210 --> 00:27:11,129 or with varying degrees of pleasure or emotion 384 00:27:11,296 --> 00:27:14,132 to see some 90 paintings by Soulages. 385 00:27:14,466 --> 00:27:18,052 The number of paintings is the artist's age. 386 00:27:31,108 --> 00:27:33,192 "I like black's authority, 387 00:27:33,318 --> 00:27:36,654 its gravity, its self-evidence, its radicalism." 388 00:27:37,322 --> 00:27:39,991 "Black has unsuspected possibilities, 389 00:27:40,117 --> 00:27:44,412 and conscious of what I do not know, I go to meet them." 390 00:27:46,331 --> 00:27:49,292 Apparently it's necessary at exhibitions like this 391 00:27:49,418 --> 00:27:51,961 to write on the walls. 392 00:27:52,087 --> 00:27:55,840 I see things I said long ago, with the date. 393 00:27:56,008 --> 00:27:59,468 But I'm more interested in the paintings, 394 00:27:59,595 --> 00:28:02,013 not what I said about them. 395 00:28:02,514 --> 00:28:05,349 Is it daunting to have such a big exhibition? 396 00:28:05,475 --> 00:28:07,727 I've had exhibitions before... 397 00:28:08,437 --> 00:28:10,021 when I was much younger. 398 00:28:10,564 --> 00:28:14,317 I had one in a gigantic space 399 00:28:14,610 --> 00:28:16,861 in Houston, Texas. 400 00:28:18,030 --> 00:28:21,282 I was wondering how we could eliminate the picture rails. 401 00:28:22,367 --> 00:28:27,121 The curator, James Johnson Sweeney, said... 402 00:28:27,539 --> 00:28:32,376 "Just hang the paintings. Suspend them." 403 00:28:32,794 --> 00:28:37,256 I didn't like the word "suspend," but that's what we did. 404 00:28:37,382 --> 00:28:40,468 We hung nylon wires and attached the paintings to them. 405 00:28:45,849 --> 00:28:48,184 When you suspend paintings in space... 406 00:28:49,144 --> 00:28:53,522 the viewer is free to compare one painting 407 00:28:53,774 --> 00:28:58,903 with any other painting behind it, depending on the angle. 408 00:28:59,238 --> 00:29:03,074 I found that idea so fascinating 409 00:29:03,742 --> 00:29:06,244 that beginning in the 1960s... 410 00:29:06,828 --> 00:29:09,080 I've done it a number of times. 411 00:29:10,415 --> 00:29:14,293 On a wall, a painting is like a window. 412 00:29:14,419 --> 00:29:18,172 But suspended from cables, it becomes an object. 413 00:29:18,423 --> 00:29:21,175 And its status as an object 414 00:29:21,301 --> 00:29:24,512 is expressed in its title, which gives its size. 415 00:29:25,264 --> 00:29:28,516 I date them too, but the date isn't the title. 416 00:29:28,642 --> 00:29:32,937 It's to distinguish between two different paintings 417 00:29:33,105 --> 00:29:34,939 of the same size. 418 00:29:35,107 --> 00:29:37,108 But the real title is the size. 419 00:29:37,317 --> 00:29:41,237 WHY BLACK? BECAUSE. 420 00:29:42,072 --> 00:29:45,074 You can see that this group of paintings 421 00:29:45,242 --> 00:29:48,286 were all done with the same black. 422 00:29:48,412 --> 00:29:51,455 People who don't look closely say... 423 00:29:51,790 --> 00:29:53,833 "It's all black." 424 00:29:54,167 --> 00:29:56,335 They have black on the brain. 425 00:29:59,673 --> 00:30:02,008 But if they look with their eyes, 426 00:30:02,217 --> 00:30:04,802 they realize it's about something else. 427 00:30:04,928 --> 00:30:08,764 In fact, when I started doing these paintings, 428 00:30:08,974 --> 00:30:12,810 I myself realized I wasn't working with black 429 00:30:12,978 --> 00:30:18,482 but with light reflecting off different black surfaces. 430 00:30:18,650 --> 00:30:21,319 It's shiny in some places... 431 00:30:22,279 --> 00:30:24,697 muted in others. 432 00:30:24,990 --> 00:30:28,034 Or maybe rhythmic. It depends. 433 00:30:29,995 --> 00:30:31,829 ULTRABLACK 434 00:30:31,955 --> 00:30:34,665 What's this passage from black to "ultrablack"? 435 00:30:35,250 --> 00:30:39,670 I had a big exhibition at the Paris Museum of Modern Art. 436 00:30:40,547 --> 00:30:43,007 We called it "Black Light." 437 00:30:43,175 --> 00:30:46,177 I thought it was a good title, 438 00:30:46,470 --> 00:30:48,512 but it bothered me a bit. 439 00:30:49,348 --> 00:30:52,099 So I invented a word... 440 00:30:53,185 --> 00:30:57,229 meaning "beyond black," "beyond black light." 441 00:30:58,648 --> 00:31:00,775 That word was outrenoir. 442 00:31:00,901 --> 00:31:03,444 Outrenoir signifies... 443 00:31:03,695 --> 00:31:07,073 a mental space, not an optical phenomenon. 444 00:31:07,282 --> 00:31:10,034 But it sounds like "outretombe," "beyond the grave." 445 00:31:10,202 --> 00:31:12,286 Sure, and also — 446 00:31:12,412 --> 00:31:16,999 - And outremer. - Or outre-Atlantique, outre-Rhin. 447 00:31:17,125 --> 00:31:19,377 It signifies another land... 448 00:31:19,544 --> 00:31:21,879 a land beyond black. 449 00:31:22,756 --> 00:31:24,882 This triptych was shown at the Pompidou, 450 00:31:25,050 --> 00:31:27,802 but it's among the work Soulages keeps in Sète. 451 00:31:29,054 --> 00:31:31,722 It looks good here, facing the sea. 452 00:31:31,890 --> 00:31:35,142 I prefer natural light to the Pompidou lighting, 453 00:31:35,268 --> 00:31:38,729 which is spot lighting with no diffusers. 454 00:31:38,897 --> 00:31:41,399 And here it's next to the sea. 455 00:31:41,733 --> 00:31:43,901 The sea is reflected in it. 456 00:31:45,987 --> 00:31:49,865 Today it's one color, but on another day — 457 00:31:50,242 --> 00:31:54,578 One day a storm lit up the trees, and the painting turned green. 458 00:31:58,875 --> 00:32:01,127 What emotions have you felt 459 00:32:01,253 --> 00:32:04,422 that you've transmitted wordlessly through your paintings? 460 00:32:04,589 --> 00:32:08,592 Why are some people moved to tears just looking at them? 461 00:32:08,927 --> 00:32:10,761 I think... 462 00:32:11,888 --> 00:32:14,640 it affects them somehow. 463 00:32:15,016 --> 00:32:17,977 They're shaken up. They encounter something. 464 00:32:19,521 --> 00:32:22,982 Jean-Claude Dugrip tells us about his experience. 465 00:32:23,108 --> 00:32:26,735 He's cultural advisor to the mayor of Sète. 466 00:32:27,112 --> 00:32:29,196 I was about 20. 467 00:32:29,322 --> 00:32:32,116 - When was this? - 1987. 468 00:32:32,784 --> 00:32:35,453 I was running a small gallery. 469 00:32:35,787 --> 00:32:38,456 We thought it'd be nice to invite Soulages, 470 00:32:38,623 --> 00:32:40,416 do something with him. 471 00:32:40,542 --> 00:32:43,335 I went to see him in Paris, oddly enough. 472 00:32:43,462 --> 00:32:45,629 He was very nice. 473 00:32:45,797 --> 00:32:48,466 He showed me in, but he was busy. 474 00:32:48,592 --> 00:32:52,219 So I waited an hour with his paintings. 475 00:32:52,429 --> 00:32:54,472 At a certain point... 476 00:32:54,598 --> 00:32:57,141 I was overcome with emotion. 477 00:32:57,350 --> 00:33:00,019 I don't know how to describe it. 478 00:33:00,145 --> 00:33:02,188 This isn't exactly the same, 479 00:33:02,355 --> 00:33:05,524 but when I was young I'd listen to Albinoni's Adagio. 480 00:33:05,650 --> 00:33:07,985 The first music that makes you cry. 481 00:33:08,153 --> 00:33:12,072 The way you cry to Prévert's "Barbara." It was like that. 482 00:33:12,199 --> 00:33:15,910 I never imagined a painting could have that effect. 483 00:33:16,036 --> 00:33:19,121 That day I understood or I felt... 484 00:33:19,456 --> 00:33:23,876 what he must have put into the black of his work. 485 00:33:24,002 --> 00:33:26,253 That's what we feel. 486 00:33:26,379 --> 00:33:30,257 If we spend some time letting the work penetrate us, 487 00:33:30,675 --> 00:33:33,010 we're overcome with emotion. 488 00:33:37,849 --> 00:33:41,018 This is where the artist works, in silence. 489 00:33:42,938 --> 00:33:46,315 Painting on a tarp on the floor. 490 00:33:49,319 --> 00:33:53,489 When I paint on the floor, I use these beams. 491 00:33:53,615 --> 00:33:55,616 The bridge allows me... 492 00:33:56,701 --> 00:34:00,204 to work directly on the canvas without walking on it. 493 00:34:01,039 --> 00:34:03,707 - You never paint standing up? - Sure. 494 00:34:03,833 --> 00:34:06,752 I'm always standing the painting up to check it. 495 00:34:06,878 --> 00:34:10,381 I like to be immersed in the painting as I work. 496 00:34:11,049 --> 00:34:15,803 Quite often I don't truly know if a painting is really finished... 497 00:34:16,221 --> 00:34:20,099 until I set it against the wall for a week, 498 00:34:20,225 --> 00:34:22,643 then look at it again. 499 00:34:22,769 --> 00:34:25,980 There have been paintings... 500 00:34:27,065 --> 00:34:29,066 I thought weren't finished yet... 501 00:34:29,192 --> 00:34:32,695 and they declared themselves finished, so to speak. 502 00:34:33,154 --> 00:34:34,905 There are others... 503 00:34:35,115 --> 00:34:38,742 I consider failures, so I get rid of them. 504 00:34:38,910 --> 00:34:41,412 I keep the frame 505 00:34:41,663 --> 00:34:44,039 and burn the painting out here. 506 00:34:44,749 --> 00:34:47,084 So this is the cemetery? 507 00:34:47,377 --> 00:34:52,214 More the spot where I burn paintings. 508 00:34:52,507 --> 00:34:54,258 The crematorium. 509 00:34:54,467 --> 00:34:56,552 The idea is appealing, 510 00:34:56,678 --> 00:35:00,264 and a burning painting makes an interesting spectacle. 511 00:35:00,807 --> 00:35:04,226 - So these ashes are from...? - Failed attempts. 512 00:35:08,273 --> 00:35:10,941 I like wood. I like rusted metal. 513 00:35:11,151 --> 00:35:15,571 I like materials that are alive, that change. 514 00:35:17,490 --> 00:35:21,243 I was walking along a dock, 515 00:35:21,536 --> 00:35:24,955 and there were these enormous pieces of wood 516 00:35:25,081 --> 00:35:27,207 imported from Africa. 517 00:35:27,334 --> 00:35:30,461 I talked them into cutting me a slice. 518 00:35:31,796 --> 00:35:34,757 It wasn't this color. It was originally red. 519 00:35:34,883 --> 00:35:38,385 But there's the sea and spray... 520 00:35:38,970 --> 00:35:42,139 salt in the winter, and the sun too. 521 00:35:43,350 --> 00:35:45,976 The same sun shines on his neighbors, 522 00:35:46,311 --> 00:35:48,562 the deceased in the cemetery by the sea. 523 00:35:48,980 --> 00:35:51,315 Paul Valéry is buried here. 524 00:35:51,650 --> 00:35:53,984 He sang of this cemetery... 525 00:35:56,154 --> 00:35:59,114 and of the lateen sails like doves. 526 00:36:00,992 --> 00:36:03,911 "This quiet roof, where dove-sails saunter by 527 00:36:04,245 --> 00:36:07,164 Between the pines, the tombs, throbs visibly 528 00:36:07,499 --> 00:36:10,376 Impartial noon patterns the sea in flame 529 00:36:10,502 --> 00:36:13,337 That sea forever starting and restarting" You know that one? 530 00:36:14,047 --> 00:36:16,548 "When thought has had its hour 531 00:36:16,675 --> 00:36:19,843 How rewarding are the long vistas of celestial calm!" 532 00:36:21,805 --> 00:36:25,766 Jean-Louis Trintignant is giving a poetry recital at the Seaside Theater. 533 00:36:27,310 --> 00:36:31,230 I started out with a theme: love and death. 534 00:36:31,523 --> 00:36:36,110 He chose works by Jacques Prévert, Boris Vian, and Robert Desnos. 535 00:36:42,701 --> 00:36:45,077 "A poet is a being unique 536 00:36:46,121 --> 00:36:48,539 Who comes in all allures 537 00:36:48,707 --> 00:36:51,917 Who thinks in verse and writes in music 538 00:36:52,127 --> 00:36:54,294 On many different things 539 00:36:54,421 --> 00:36:56,714 Some red and some green 540 00:36:56,923 --> 00:36:58,716 But always on the beat" 541 00:37:07,517 --> 00:37:09,476 You chose poems 542 00:37:09,853 --> 00:37:12,020 that speak to people. 543 00:37:12,397 --> 00:37:16,567 I don't want it to be intellectual or elitist. 544 00:37:17,902 --> 00:37:19,319 Boris Vian. 545 00:37:19,446 --> 00:37:21,029 "First of all... 546 00:37:22,449 --> 00:37:27,536 there's much merit in marrying a younger woman. 547 00:37:29,956 --> 00:37:32,750 There's much merit in marrying a woman. 548 00:37:33,418 --> 00:37:37,421 There's much merit in marrying. 549 00:37:38,423 --> 00:37:40,924 Not to mention the merde! 550 00:37:42,677 --> 00:37:44,344 Second of all... 551 00:37:44,971 --> 00:37:48,807 there's much merit in marrying an older woman. 552 00:37:49,058 --> 00:37:51,769 There's much merit in marrying a woman. 553 00:37:51,936 --> 00:37:54,354 There's much merit in marrying. 554 00:37:54,522 --> 00:37:56,648 Not to mention the merde! 555 00:37:56,775 --> 00:37:58,358 Third of all... 556 00:37:58,485 --> 00:38:03,864 there's much, much, much, much merde! 557 00:38:05,617 --> 00:38:09,870 Not to mention the merit in marrying a woman." 558 00:38:12,957 --> 00:38:15,876 I still continue on because I enjoy doing this, 559 00:38:16,002 --> 00:38:19,630 but it's very hard for me to get to the stage. 560 00:38:20,131 --> 00:38:23,801 Even to get to Sète. 561 00:38:24,260 --> 00:38:27,221 Fortunately I have a younger wife who drives me. 562 00:38:27,347 --> 00:38:29,389 And I have a cane! 563 00:38:32,435 --> 00:38:34,436 There's one I didn't recite: 564 00:38:34,604 --> 00:38:37,940 "From two moons one, the other is the sun." 565 00:38:38,316 --> 00:38:40,859 Nice, isn't it? Prévert. 566 00:38:42,028 --> 00:38:46,198 I hear the moon rose during the show. Did you see it? 567 00:38:46,324 --> 00:38:50,327 - No, I only had eyes for you. - It depends where you're sitting. 568 00:38:50,787 --> 00:38:54,998 I wanted to film a bit. I'll use a few excerpts. 569 00:38:55,291 --> 00:38:59,628 I'm working these days with impressions, touches. 570 00:39:00,171 --> 00:39:02,005 And you touched me. 571 00:39:02,173 --> 00:39:04,508 Thank you. I'm touched to hear it. 572 00:39:04,759 --> 00:39:06,510 This is getting touchy! 573 00:39:06,636 --> 00:39:08,178 That's enough. 574 00:39:08,346 --> 00:39:11,014 Thank you very much, Jean-Louis. 575 00:39:18,773 --> 00:39:22,693 The Poetry Festival, created by Maïthé Vallès-Bled, 576 00:39:22,861 --> 00:39:25,696 continues in an old chapel in town. 577 00:39:26,781 --> 00:39:29,700 Palestinian poet Ghassan Zaqtan recites, 578 00:39:29,868 --> 00:39:32,202 followed by his translator. 579 00:39:32,787 --> 00:39:36,957 "The soldier that the patrol forgot in the garden... 580 00:39:37,917 --> 00:39:43,046 the patrol that the border guards forgot at the barricade... 581 00:39:44,048 --> 00:39:46,925 the barricade that the occupation army forgot 582 00:39:47,051 --> 00:39:49,887 at the threshold..." 583 00:39:50,013 --> 00:39:52,097 POETRY 584 00:40:03,693 --> 00:40:06,945 In the Quartier Haut, in a secluded garden, 585 00:40:07,113 --> 00:40:09,448 we await an Asian poet... 586 00:40:09,991 --> 00:40:11,867 who isn't showing up. 587 00:40:16,456 --> 00:40:19,041 Nadia Gerber plays Satie. 588 00:40:34,766 --> 00:40:37,976 Music, the sea — what more do you need? 589 00:40:40,647 --> 00:40:43,732 Here's my version of the seaside. 590 00:40:44,067 --> 00:40:47,694 First... a photograph. It's like we're there. 591 00:40:47,862 --> 00:40:50,155 We feel the splashing waves. 592 00:40:50,281 --> 00:40:54,534 But it's a static image, flat, vertical, and silent. 593 00:40:55,286 --> 00:40:58,997 Second... the photo continues on film. 594 00:40:59,165 --> 00:41:01,667 It moves, it has sound. 595 00:41:01,918 --> 00:41:04,294 Another type of representation. 596 00:41:04,712 --> 00:41:07,673 Three... a bit of sand. 597 00:41:07,799 --> 00:41:11,134 The reality of the beach, like at the seaside. 598 00:41:14,305 --> 00:41:18,141 Noelle Tissier invited me to show my work at the CRAC in Sète. 599 00:41:19,060 --> 00:41:22,145 THE SEA... ET-SÈTE-RA Thanks, Noelle. 600 00:41:23,982 --> 00:41:27,150 She brought in sand... 601 00:41:29,195 --> 00:41:31,863 and I'd filmed some at the beach. 602 00:41:35,159 --> 00:41:37,119 Optical illusions. 603 00:41:37,245 --> 00:41:39,371 The sea diffracted. 604 00:41:39,497 --> 00:41:41,331 Broken up. 605 00:41:47,088 --> 00:41:49,673 In dialogue with other works in the gallery: 606 00:41:50,258 --> 00:41:53,176 Nicolas Floc'h and his Pelagic Tower. 607 00:41:58,516 --> 00:42:00,809 I go out on the dock... 608 00:42:00,935 --> 00:42:05,355 and visit the Calli brothers, Angel and Daniel. 609 00:42:05,690 --> 00:42:07,816 One is a head fisherman. 610 00:42:08,067 --> 00:42:10,527 The other is a netmaker. 611 00:42:10,820 --> 00:42:14,114 Even if I don't go out to sea, I go see my boat. 612 00:42:14,240 --> 00:42:16,575 - Where is it? - Right nearby. 613 00:42:16,743 --> 00:42:18,994 - What's it called? - Eros Calli. 614 00:42:19,203 --> 00:42:23,165 - Calli is your family name. - And Eros is my son's name. 615 00:42:23,291 --> 00:42:25,292 - You named him Eros? - Yes. 616 00:42:26,252 --> 00:42:29,004 - That's gutsy. - It's the god of love. 617 00:42:30,631 --> 00:42:33,008 Your parents named you Angel. 618 00:42:33,718 --> 00:42:35,052 Why? 619 00:42:35,219 --> 00:42:39,097 Because of our Italian and Sicilian roots. 620 00:42:39,223 --> 00:42:41,808 We take our grandfather's name. 621 00:42:42,852 --> 00:42:45,145 So your grandfather was called Angel? 622 00:42:45,313 --> 00:42:48,398 On both sides, paternal and maternal. 623 00:42:52,320 --> 00:42:55,238 A netmaker's job 624 00:42:55,364 --> 00:42:57,949 is making nets for trawlers. 625 00:42:58,076 --> 00:43:00,994 He makes them new, buys nylon twine, 626 00:43:01,245 --> 00:43:04,748 calculates the dimensions, and makes the net. 627 00:43:05,124 --> 00:43:06,917 Based on the boat's size? 628 00:43:07,043 --> 00:43:09,836 Based on its engine power. 629 00:43:10,880 --> 00:43:14,341 Is he paid by the net or by the hour? 630 00:43:14,467 --> 00:43:18,261 If he were paid by the hour, he'd be very, very rich. 631 00:43:18,638 --> 00:43:22,265 - But unfortunately... - That's not the case. 632 00:43:22,725 --> 00:43:25,519 He gets a percentage of the catch. 633 00:43:25,645 --> 00:43:28,772 If there's a good catch and it sells well, 634 00:43:28,940 --> 00:43:31,566 we make money and share it. 635 00:43:31,818 --> 00:43:33,235 How many on board? 636 00:43:33,361 --> 00:43:34,778 Four. 637 00:43:34,946 --> 00:43:38,824 The netmaker's on board too. - How do you split it? 638 00:43:38,950 --> 00:43:41,993 We split it 45/55. 639 00:43:42,453 --> 00:43:46,289 When the catch is sold, we know what we've earned. 640 00:43:47,458 --> 00:43:50,335 We subtract expenses and fuel. 641 00:43:51,838 --> 00:43:54,005 Then we split it 642 00:43:54,132 --> 00:43:55,966 55% for the boat, 643 00:43:56,259 --> 00:43:58,385 45% for crew, 644 00:43:58,636 --> 00:44:00,470 less tax. 645 00:44:00,805 --> 00:44:03,890 If we don't catch or sell anything, we earn nothing. 646 00:44:07,311 --> 00:44:09,312 You order nets from your brother? 647 00:44:09,438 --> 00:44:13,108 Of course. If I need nets, I go to my brother. 648 00:44:13,234 --> 00:44:17,320 I know what I'm getting. I know they'll be good. 649 00:44:17,989 --> 00:44:20,407 A good net catches fish easily. 650 00:44:20,533 --> 00:44:22,117 If the fish agree. 651 00:44:22,785 --> 00:44:25,954 No fish wants to be caught, but some are more clever. 652 00:44:26,080 --> 00:44:27,539 How do they get away? 653 00:44:27,665 --> 00:44:30,208 They try to swim faster than the net. 654 00:44:30,334 --> 00:44:32,794 A fish can move like you. 655 00:44:33,337 --> 00:44:36,840 It stays out in front of the net, and you can't catch it. 656 00:44:37,049 --> 00:44:38,925 It swims and swims. 657 00:44:39,051 --> 00:44:43,346 If we put you in the water, after 10 hours you stop, exhausted. 658 00:44:43,806 --> 00:44:47,142 By the time it's in the net, the fish has drowned. 659 00:44:47,268 --> 00:44:49,394 It drowns before it's caught? 660 00:44:49,520 --> 00:44:54,149 90% of all fish are dead when caught. 661 00:44:54,358 --> 00:44:55,525 Really? 662 00:45:01,449 --> 00:45:03,658 Leaving the net workshop, 663 00:45:03,784 --> 00:45:06,661 I see many more nets on the dock. 664 00:45:07,622 --> 00:45:09,998 These tools of their trade — 665 00:45:10,124 --> 00:45:12,792 barrels, ropes, nets — 666 00:45:12,919 --> 00:45:15,295 are displayed so beautifully... 667 00:45:15,421 --> 00:45:19,049 they'd make certain installation artists red with jealousy. 668 00:45:28,059 --> 00:45:29,726 We say "outsider art." 669 00:45:30,102 --> 00:45:32,729 Could these be "outsider installations"? 670 00:45:40,196 --> 00:45:43,573 And the simple creaking of a securely tied gangplank — 671 00:45:43,741 --> 00:45:46,576 is that not the subtlest of music?