Original subtitles

We had to prune that tree.

Its leaves were devouring our light.

I embarked on a series of trips, filming here and there

faces and words, museums, rivers and works.

I listened

the people to whom I found maybe by chance,

especially

the artists whose work I like.

When I came back from my first trip, there were already new shoots.

I traveled, by plane or train, filming in each city,

not to make a report, but to capture the fragments

the moments, people.

The tree was reborn.

I went and came back. Then I did, with Jean-Baptiste,

the assembly of the images and sounds that I gathered.

But well before I completed my travel and my work,

the tree

had reconstituted

with shoots and leaves all its foliage, in less than 3 months.

This is shown in less than 2 mn, and those who will see

these chronicles will see them in many days.

A leaf novel, somehow.

In this episode we will go to Brazil, Brussels, Stockholm and Venice.

Let's find the art critic Obrist and the painter Barcel�.

When we go too far, our shadow stays on the floor.

This time in Brazil that I will play as a filmmaker.

It is not after-sales service. We accompany our films

and we took the opportunity to see the country.

The country and people who want to receive us.

I’m really welcome, in Rio, by Fabiano Canosa,

the Brazilian from New York, and Joel Pizzini, a local filmmaker.

Joel's partner to Paloma Rocha,

Glauber's daughter, the filmmaker.

And also the singer Paulo Tasser

Bossa nova.

Rio de Janeiro. The famous Sugarloaf Mountain.

I think about mom, who used to put sugar

in the rest of the breads.

From my room in Ipanema, I can see the beach.

Here, at 7 o'clock in the morning.

And at noon.

A little bit more

is the famous Copacabana beach.

We drank a delicious coconut water.

My son Mathieu is here, He came as Mathieu Demy, an actor.

Jeanne Moreau is also here, and others.

Look at these birds!

And I, for the festival

of cinema in Rio.

Fabiano, who programs films for the New York Public Theater,

returned to the country.

Here is Villa Lobos villa, a center for music and exchange.

Now I dedicate my time doing retrospectives

about Brazilians whom I love

and admire.

Villa Lobos, the greatest classical composer.

In my opinion, the true genius Brazilian of the century was Villa-Lobos.

and also Glauber Rocha, who was my brother. A magnificent guy.

The filmmaker became known with a political, baroque film,

Black God, White Devil (God and the Devil in the Land of the Sun)

Not with rosary, Satan,

with the rifle and the dagger.

Lie, lie, lie!

Lies!

You didn't say he was big only in your head?

Virgulino was great, but he made himself small.

Lie!

Paloma Lida

with restoration and distribution of your father's films.

My kids know that.

The filmmaker's house is a place of cinema and memory.

We can see, perhaps, the mother of Glauber there, underneath

and his sister Ana L�cia.

We watched the movies, like Antonio Das Mortes,

who impressed the judges of the Cannes festival.

Glauber represented the "Cinema Novo", the New Wave ...

in Brazil, among documentaries social and imaginary baroque.

Jacque and I know him

when we discovered Brazil and your music.

We went to Ouro Preto, in the state of Minas Gerais.

Jacques had a small camera,

that got lost.

He, the filmmaker

of the winding planes, he didn’t film anything but the fixed planes.

We dream in this city enriched by garimpeiros.

And I took the photographs.

Forty years later,

I left for Fortaleza.

Beatriz Furtado made me come to find students

from the art school she runs.

To greet them, I film them.

Here is the beautiful Beatriz.

And this other teacher It is very beautiful.

This scene from "Glaneurs" when I take the trucks

delighted them.

They often tell me about it wherever I go.

Questions answers. I see your films.

Then they take me to an old covered market

and make me a party.

At the fishermen's beach too they wished me good health.

Corners, percussions.

Lobsters, rice,

fish, on the edge of another beach, called Praia do Futuro.

My new friends organized a farewell meal.

Beatriz offered me

a white coat.

I gave you Calissons d'Aix and DVDs,

for her and for Paula, that she gave me her CD.

These two women are amazing. Together, we went to the market.

� cashew: we do it a lot of juice, and we eat

the cashew brown.

This is the soursop. It is white inside.

We do everything with it: Juice, ice cream ...

Let's go to the hardware store Market: often �

there we find things to buy.

Look at the statuettes.

The explanations begin.

� the Pomba Gira.

A saint or a protective goddess.

We offer you champagne,

cookies, perfume ...

Red roses, to be able to you make a request...

We asked to find work,

resolve a conflict, bring back the fickle husband ...

� a lot of hope, for the equivalent of 5 euros.

I had to go back to Rio.

Fabiano took me to the Museum of Contemporary Art, in Niter�i,

a kind of flying saucer

that follows the curves of the Sugarloaf Mountain, designed by Oscar Niemeyer.

Is he still alive?

He's still alive. He is 102 years old.

He recently got married, 5 or 6 years ago.

He goes to his office every day

take care of business. As he always did.

Business as usual.

I discover Brazilian artists.

Antonio Dias and his dentist For Me For You.

Luis Ernesto, a play of his Aquarius series.

Ant�nio Manuel. I will say in French the title of its series:

Repression Once Again,

dated 1968.

This chair by Guido Meireles reminds me of that of Magrite.

And this one, by Raoul Mour�o, caged, intrigue me.

I think of some chairs in my life.

Ionesco's chairs, that I photographed in the 50s.

Tsilla Chelton and Jacques Mauclair they waited for guests who never arrived.

The chair that Vilar sat on willingly.

This one by Pierre Etaix, Padre-Lachaise.

And that chair. One of my first photographs.

Here the office chairs that were stacked by Michel de Broin,

facing inwards at a meeting of the board of directors.

It is an igloo of hidden businesses.

From many to few, Van Gogh's poor chair.

And an armchair.

Two interlaced chairs scored by Niki de Saint Phalle.

Armchairs at par on a beach. Ah, how those two words sound. Couple, beach.

Magritte and her chair.

A very light one: Threatening weather.

A very heavy one: The chair.

Quick, a train! We shouldn't lose the opening of the Magritte Museum,

Place Royale, Brussels. There is a preview of a video.

This is Charly Herscovici who created the Magritte Foundation.

He is the holder of labor rights of the man in the coconut hat.

Your collection is the heart of this museum. Here it is.

It's a party.

And violinist Michael Guttman who's playing.

The reception is at the Museum of Fine Arts.

Among the guests, is the collector Walter Vanhaerents.

He is protected by the Red Man, from Katharina Fritsch

in this old factory that houses its large collection, open to the public.

In the background, an image of the Thomas Demand's work

and a McDonald's mini market, reinvented by Tom Sachs.

A suspended piece, by Jason Rhoades.

A piece by Markus Schinwald.

A man and a woman separated through a wall.

I didn’t have the camera but � I need to know that the man nervously twists his right foot.

The woman does not move.

Near a long collage from Rondinone, a Urs Fischer chair.

It is your shadow that is giant.

Like the group of giants, created by David Altmejd,

a recent collector's acquisition.

Walter is happy. The artist too.

That's when I started building them, it all made sense.

What? A warrior?

A warrior, yes.

And the arm fell.

And ready, here are the new ones residents of the Vanhaerent home.

When I was little, I was going to the Jardim Bot�nico park.

Now it's a culture center. It is also a museum.

In 2009, Alechinsky occupied the great gallery.

It was an exhibition

important from which I show some paintings.

Graphics and fantasy.

We look smiling, kind of dreaming.

On the other side of what remains of the Botanical Garden, the painter invited

another artist: Kikie Cr�vecoeur.

it records 10 cm rubbers�.

then it makes impressions.

Every little square It is a gum imprint.

The rubber was sculpted.

For this great piece, where there is 7 or 8 thousand different impressions,

there must be a hundred of different rubbers.

What was the idea behind it?

When you're on a highway

and you see the trees passing by beside the road

they look like small bar codes.

I wish the bar codes were so beautiful!

For her diary, every day, Kikie sculpt a rubber with a drawing,

the date and some code words.

She prints these mini pages of your notebook, enlarged here.

Rubber for linoleum. This time, this piece is a linocut.

It is a fresco of trees.

First I drew, then I sculpted in linoleum

How could nature inspire me, without representing it.

I did them separately. It took me a year to do it.

The images,

Sometimes there is a rupture, but often,

the connections are of order unconscious.

I can mix them up.

Each time the shows, I do it in a different order.

I edited them on postcards.

If we send postcards, did we break the series?

There are countless possibilities.

I'll send Kiki a postcard touristic.

Notice, this city has the air

of an oriental pastry, but to Stockholm.

They wait for me.

Fr�d�ric Strauss, whom I met in the "Cahiers du Cin�ma",

and Marie Booberg, from "Folkets Bio".

In the taxi around town, they tell me about Ingmar Bergman.

They showed me the theater, where he worked while not filming.

and in that building, there,

where they were auctioned and dispersed the filmmaker’s assets,

on the eve of my arrival.

Marie is still shaken by this,

like all people in the cinema.

I like my hotel room

with 3 windows leading to the port.

Maria brings me the catalog of the sale.

I watched the moves.

It was strange, as an event,

I will tell you.

There were many things very personal, very simple

but also the exception objects,

like the game of chess ...

- The movie chess game ... - The Seventh Seal.

The real one, yes.

And it was

one of the most sought after objects, clear.

Who bought it?

Nobody knows who bought what.

Buyers had numbers.

It happened mostly over the phone.

Most objects they ended up abroad.

Prices are in crowns.

They sold everything.

The bed, the bedspread ...

Your beautiful Eames armchair.

And many houses

on the island of Faro, including the one he lived in.

The house is called "Hammarts". And at the seaside.

And the cars.

The chairs. A piano.

The little things made for your grandchildren ...

Oh ... made by grandchildren!

Was the family there? Your children.

I didn't see them, but I read later

that one of your daughters I was present.

Maybe not in the sales room.

It looks like your son Daniel I was there too,

but I didn't see them.

They should be back.

At night, I rethought this sale and Bergman’s children,

the closest, the least close.

What they thought and felt of this testamentary decision?

Some of them bought it back his bedroom closet?

the one whose door creaked a little?

Or his armchair? Or your little tin jar?

Al�. Good Morning.

In my hotel room

the journalist from "film and TV" magazine.

I was told that she speaks English and French.

I'm Christina, journalist from Stockholm.

And I also love making movies.

I have a certain curiosity ...

I hesitate to ask, but have you been sick?

No, I haven't been sick.

- Is it a punk hairstyle? - No.

What happened?

My hair just fell out.

In two months

I went bald.

I'm 43 years old,

never happened to me before. They fell.

When we breastfeed our children

sometimes we lose hair. It is very common.

At certain times in life ...

- Do you have children? - Yes two.

But this is recent.

And no one can truly explain.

The disease is called alopecia.

Sometimes the body revolts against anything.

The hair, in my case.

Two, three years before that,

I experienced the shocks, two or three times.

These were very difficult years,

because it was a change in my life, I got divorced ...

If all women divorced lose their hair,

there would only be bald spots.

There are so many women how much men

affected by this disease.

But women wear wigs.

And you dare to live without?

Try on many wigs to see.

For it is a matter of identity.

My identity was ... new.

I have a love and he

it is so important.

And when this happened,

I panicked. I was...

The worst, for me,

it was the feeling of not knowing

if he would stay with me.

Your love for the chief operator and together they made a movie

about the importance of hair in the appearance of a face.

Christina looks at herself.

She tries to understand how diamonds looked at her.

She watched with intensity hair and hairstyles.

Then he discovered that, in fact, she was successful like that.

And she is happy and alone,

until she finds another woman, bald, like her.

In two, they are the company.

Soon it's a whole group.

Thank you, Christina, have allowed me to borrow

pieces of its history and of your film.

You are the only one.

But it is relative.

She tells me that she tries to do documentaries,

but that she must earn her living: then he is a journalist.

It was my turn to sit down in the canap�.

A photograph was taken and the entertainment started.

And another photograph, for a magazine.

Maria organized the launch of my "Beaches".

Promoters offered surprise bags.

I remember the meal, at the embassy.

Maria and Fred accompanied me and made some confidences.

We met again in Cannes.

That year,

The Man Without A Past I was in the competition.

I am the distributor of the film.

We met at the party.

I was invited because I wrote about your films.

Then, we didn't see each other anymore. I went to Paris, she, to Stockholm.

Almost a year later

I sent you an email when Cannes was approaching.

I thought about her throughout this time and ...

You changed your life before to review it?

I truly changed, after having reviewed it.

I changed my life.

Before or after having it reviewed.

Later.

My feelings were very strong to be ignored.

You need to seize the moment.

I love it when you say: Very strong to be ignored.

That's how we feel.

It is too strong to pass up.

Seventh heaven for them, I expect.

Full sky for me.

A sky by the painter Canaletto, the Grand Canal of Venice and Vivaldi.

Classic tourism: The Grand Canal and Vivaldi.

I don't shy away from the desire to see again these places of great tourism.

In 2003, Hans Ulrich Obrist, with Molly Nesbit and Rirkrit Tiravanija,

created a project called "Utopia Station".

Hans invited me to join to other artists.

Each one brought a poster

and a work.

How to describe Hans Ulrich?

Globe-trotter. Dedicator of contemporary art.

Accompany you, listen to you talk about their projects, their initiatives.

He is the co-director of the Gallery Serpentine in London.

There are ephemeral pavilions.

East, from SANAA

� as well as a reflection of the world,

and their reflections, It is a factor of disorder.

Hans drives to Agn�s b. The big magazine in the form of a poster ...

"Point of Irony".

Parreno and Rirkrit see Hans like a ventriloquist puppet.

And I filmed it dumb.

How crazy. He speaks so well. In fact, it is Swiss.

Thanks to him, at the Venice Biennale,

I installed 3 screens for the first time.

I dreamed of this for a long time.

Needed to be found

the good angle, adjust the square and the height of the projectors.

And I needed 700 kilos of potatoes to cover the floor

near the screens.

There was no setback, and I didn't have a goal

wide enough to film

the three screens: I film them two at a time.

I was all happy for find myself among Yoko Ono,

Jonas Mekas and Lawrence Wiener, passing behind.

And Boltanski, that I already loved a lot.

My potato costume didn't pass unnoticed.

In years oldest in Venice

oftentimes at the Cinema Exhibition.

Once, with young Sandrine Bonnaire, for "Sem Teto Nem Lei",

I brought back a golden lion, and recently, with "As Praias

d'Agn�s ", finally mine.

We brought the team that helped me make the film.

They were all very well dressed.

And again. And again another arrival by the lagoon.

When we look, and more and more carefully,

it looks very beautiful.

Very chic invitation for the opening of the more antianding

that Fran�ois Pinault renewed to exhibit contemporary art.

We found a "Boy with a Frog" from Charles Ray,

well-preserved sculpture.

Fr�d�ric Mitterrand, Minister of Culture,

Olivier d'Arvor,

French Culture and even Andr� from the O Bar�o club.

I go through the bush of the guests

and walk away from the walls.

A wall with collectors, the Lema�tre,

and the one I did.

A wall with my friend V�ronique B�rard,

of whom i took a portrait a long time ago.

In the French pavilion again the crowd to Claude L�v�que.

Your black flag cages,

or cages for visitors.

Al'Arsenal "Sade for Sade's Sake",

a work by Paul Chan (Greene Naftali Gallery)

A drowned man and no one take it out of the water.

� "The Death of a Collector", of Elmgreen and Dragset.

We are in the Nordic world.

Or in Japanese: a broken down wall of Murakami,

an unstable floor by Shoza Shimamoto.

In the Spanish pavilion, the painting. Anyway.

Miquel Barcel�, what a delight.

The screens inspired by Mali.

A pictorial material very worked.

Upside-down chick: I put the screen on the ceiling,

and I painted to create these types of stalactites,

like spikes

that jump to the eyes.

For 20 years I represented myself

like a young dog and now, like a gorilla.

Suddenly I knew that was me.

This gorilla is not in the wild, in the forest.

He's in my studio.

� my studio�.

And all of these are the brands that fell from the frames.

These marks on the floor, once, were from Miquel's studio

in Paris.

The gorilla on cardboard

was done with that, your albino gorillas.

There are still pieces of cardboard. It was certainly a chair leg.

This is another strange scraper.

I did these things to scratch,

and each one scratches from a different way.

It's like plowing fresh paint.

They worked hard.

I can mount them or throw them away.

This is nowhere to be found.

- To do what? - To do this, for example.

- Is it a wave? - A wave that bites.

We see the teeth.

It was a vacancy and became on the skull of a crocodile.

- Did you see them, really? - Yes, many, in Mali.

They know each other in caimans and termites.

Right now, in Africa,

termites should eat my notebooks at home, yes.

Everyone, they ate a huge amount of paper.

Does this come from Africa?

Yes. It is very beautiful. I don't know anymore what am I going to do.

No human hand is capable to do things like that.

� like the topography of l�, where you live in africa.

- Are you always going? - Every year.

My home would be here, at the edge of the cliff.

I have a house here. I paint a lot there.

I paint a lot too in Majorca.

I was born here, in Felanitx, here, where it's half burned.

And I live here, in Farrutx.

We arrived there by plane.

I felt like I was in a trap,

when I was 16.

I would have given a finger of left foot to have been born

in New York.

For a moment,

I painted a lot of tomatoes.

I liked very much...

your oddities, were like masks,

with these wells, these holes.

� as inputs

in the center of the earth, each of these tomatoes, right?

It almost looks like with a flower.

� like rivers, from one to the other.

With peppers, khakis or other things.

Summer 2010, Barcelo exhibits in Avignon.

� reported by an elephant standing on his trunk.

The exhibition was made

in 3 places: We needed a totem pole.

I wanted to have the morphology of a tree,

so that it could be confused

with the trees that exist in the city.

At the end of the square, the Petit Palais museum.

"Jacob's Ladder", by Nicolas Dipre.

I found a beheaded effigy, of the Revolution.

The head matched exactly. It was beautiful.

I gave her a face to that poor effigy.

- But a fish face. - But it's a face.

A beautiful face.

Barcelo also exhibits at Avignon Foundation

of its gallery owner, Yvon Lambert.

In this corner

i paint pictures of fish,

like those who paint portraits family.

I know the morphology well of the fish.

I've been fishing since I was born.

Is a form of painting, the clay.

This resembles the chair.

Clay has the memory of a caress, a fist blow,

of a brand.

With choreographer Josef Nadj, they created

a performance: "Paso Doble.

Paso Doble is a kind of staging

of the vocabulary of my painting with clay.

Nadj is a dancer.

He persuaded me to do that.

And I told you, I will do it if you do. If we do it together.

Applause for assistance.

Brazilian Portuguese subtitles: Lu Stoker.