All language subtitles for The.Art.Of.Un-War.2022.1080p.WEBRip.x264.AAC-[YTS.MX]

(SOFT ACOUSTIC GUITAR MUSIC)

- [MARIA] WE'RE GONNA PUT THE

MIC AROUND YOU, KRZYSZTOF,

AND HIDE IT.

- [KRZYSZTOF] OH NO, DON'T HIDE

THIS. I HATE HIDING.

- [MARIA] HE NEVER

WANTS TO HIDE IT.

IT'S VICTORIAN

HIDING TECHNOLOGY.

MY NAME IS

KRZYSZTOF WODICZKO.

(ATMOSPHERIC MUSIC)

(KRZYSZTOF MUTTERING)

THEN YOU CAN DO MONTAGE.

YOU CAN FIGURE OUT WHAT

YOU NEED OR DON'T NEED.

YOU CAN FIGURE OUT WHAT

YOU NEED OR DON'T NEED.

(SOFT INTRIGUING MUSIC)

- MY FIRST ENCOUNTER

WITH HIS WORK,

I WAS JUST LIKE AS

A YOUNG ARTIST

LOOKING FOR OLDER

ARTISTS WHO HAD DONE

WHAT I WAS TRYIN' TO

FIGURE OUT HOW TO DO.

KRZYSZTOF IS RADICAL.

HE'S BADASS. (CHUCKLES)

(SOFT INTRIGUING MUSIC)

IN THE MID 80S, WODICZKO

HAD PROJECTED A SWASTIKA

IN THE MID 80S, WODICZKO

HAD PROJECTED A SWASTIKA

ON THE SOUTH AFRICAN COUNCIL

WHICH I THOUGHT WAS AMAZING.

SOUTH AFRICA WAS

A RACIST COUNTRY.

THE ANTI-APARTHEID MOVEMENT

WAS BIG IN THE WORLD ACTUALLY

BUT PARTICULARLY ACROSS THE US.

(SOFT INTRIGUING MUSIC)

- [DREAD] MOST ARTISTS

DIDN'T LEARN ABOUT ARTISTS

WHO WERE DOING INTERVENTION

IN PUBLIC SPACE.

THE FACT THAT ART DIDN'T

HAVE TO ASK PERMISSION,

THAT IT DIDN'T HAVE TO

BE IN A REFINED SPACE.

THAT WAS PHENOMENAL

THAT THE ORDINARY PUBLIC

COULD JUST SEE IT.

(SOFT INTRIGUING MUSIC)

- AN INTERVENTION IS ART

THAT INTERRUPTS THE EVERY DAY

IN SUCH A WAY THAT

IT MAKES PEOPLE

HAVE TO RETHINK THEIR SITUATION.

AND I THINK IT GOES BACK TO

THIS CONCEPT OF THE AVANT-GARDE

TO MERGE ART WITH LIFE.

IN ORDER TO DO THAT,

YOU HAVE TO TAKE ART OFF THE

WALL AND PUT IT IN THE STREET.

(SOFT INTRIGUING MUSIC)

- ON A C-130 AIRCRAFT,

THERE WERE TIMES THAT

WE HAD TO MOVE BODY BAGS

AND THE BODY BAGS WAS

NOTHING BUT SHELLS OF THE GI.

AND THE BODY BAGS WAS

NOTHING BUT SHELLS OF THE GI.

WHAT HAPPENS AT THE

MAKESHIFT MORGUE

IS THAT THE BODIES ARE SLICED

ON THE BACK DOWN THROUGH

THE WAIST, I WOULD SAY.

THE ORGANS ARE REMOVED.

ONCE ALL THE ORGANS

ARE REMOVED,

THE BODIES ARE SEWN BACK UP.

IT'S NOT THAT I EVER SEEN

IT, BUT I KNOW WHAT IT WAS.

I KNOW THERE WERE AMERICAN

GIS IN THOSE BAGS.

I KNOW THERE WERE AMERICAN

GIS IN THOSE BAGS.

(DARK FOREBODING MUSIC)

(CLAPPERBOARD SNAPPING)

- ALL RIGHT.

MY NAME IS NELSON LOWHIM.

I AM A VETERAN

HERE TO TALK ABOUT MY

EXPERIENCE WITH THE ARMY

AND WITH MY TIME IN IRAQ.

I WENT IN WHEN I WAS AROUND 22.

I WAS INITIALLY

VERY ENTHUSIASTIC,

I WAS INITIALLY

VERY ENTHUSIASTIC,

VERY BELIEVING, I GUESS,

NAIVE TO GO INTO IT.

I WENT IN WITH ALL

THESE GREAT HOPES,

YOU KNOW, THESE BELIEFS.

THIS SLOWLY STARTED TO CHANGE.

I SUPPOSE WHEN A WAR STARTS,

THERE'S A CERTAIN DRUM BEAT

WITHIN WHAT SOCIETY SAYS AND

WHAT IT DOES TO GET YOU TO GO.

AND SUDDENLY THAT DRUM BEAT

JUST KINDA DIDN'T

MAKE SENSE TO ME

OR DIDN'T SOUND

LIKE A BEAT ANYMORE.

IT JUST SOUNDED LIKE NOISE.

AND THAT'S WHEN I SUPPOSE I

STARTED TO DOUBT THE REASONS.

AND THAT'S WHEN I SUPPOSE I

STARTED TO DOUBT THE REASONS.

THE REASONS FOR THAT WAR.

I WAS IN AN NYU VETERANS

WRITING WORKSHOP.

SO THEY PUT OUT AN EMAIL

SAYING IF ANYONE'S INTERESTED

YOU KNOW, THEY WANT SOME

VETERANS TO TELL THEIR STORIES.

- [MARIA] WHY DID YOU

THINK WE WERE IN IRAQ?

WHAT DID THEY TELL YOU?

- WELL THE MAIN THING I HEARD

WAS THE WEAPONS OF

MASS DESTRUCTION,

GETTING RID OF THIS

SAD DICTATOR, RIGHT?

- [REPORTER] THERE IS NO

DOUBT THAT SADDAM HUSSEIN

- [REPORTER] THERE IS NO

DOUBT THAT SADDAM HUSSEIN

NOW HAS WEAPONS OF

MASS DESTRUCTION.

- AMERICAN AND COALITION

FORCES ARE IN THE EARLY STAGES

OF MILITARY OPERATIONS

TO DISARM IRAQ.

- THIS IS WHAT YOU'RE ABSORBING

FROM THE MEDIA AND ALL.

I WAS VERY NAIVE.

AND THEN YOU FIND OUT THAT

IT'S OBVIOUSLY ABOUT THE OIL.

(DARK FOREBODING MUSIC)

(EXPLOSION BURSTING)

- REPEATED THE SAME

WITH STRONGER WORDS.

YOU PUT MORE WORDS.

AND MORE TIMES, WAR AND REASON.

- SO BEFORE YOU SIGN UP,

THINK ABOUT WHAT YOU'RE DOING,

THINK ABOUT WHY

YOU'RE GOIN' TO WAR,

THINK ABOUT WHY

YOU'RE GOIN' TO WAR,

THINK ABOUT THE PEOPLE

WHO ARE TELLING YOU

THAT YOU NEED TO GO TO WAR FOR

AND SEE WHAT THEY'RE DOING.

(DARK FOREBODING MUSIC)

- [LOADER] TAKE ONE.

(CLAPPERBOARD SNAPPING)

- IN 2006

MY FAMILY LOST MY NEPHEW

LANCE CORPORAL

NICHOLAS WHYTE IN IRAQ.

LANCE CORPORAL

NICHOLAS WHYTE IN IRAQ.

I WAS THE ONE THAT SPOKE TO HIM

ABOUT NOT JOINING

THE MARINE CORPS.

I FELT THAT HE

SHOULDN'T HAVE GONE.

GO INTO THE MARINES.

AS THE FIRST LINE OF ATTACK

AND YOU'RE GOING TO

DIE PRETTY MUCH.

SO WE'RE SITTIN' IN THE

KITCHEN AND WE'RE TALKING

AND I'M LIKE, "OKAY,

YOU'RE GOING TO DIE."

AND HE JUST LOOKED AT ME

AND GAVE ME A LOOK

OF ANY TEENAGE KID.

I MEAN 'CAUSE NICHOLAS

WAS LIKE AROUND 18 1/2,

SO WE GOT INTO A

VERY INTENSE ARGUMENT.

HE WAS LIKE, "WELL THEN

WHY WOULD YOU TELL ME?

I WOULD THINK THAT

YOU WOULD UNDERSTAND

WHY I'M JOININ' THE MARINE

CORPS 'CAUSE YOU ARE MARINE."

WHY I'M JOININ' THE MARINE

CORPS 'CAUSE YOU ARE MARINE."

AND I STOPPED FOR A MINUTE

BECAUSE IT'S TRUE,

I WAS IN THE MARINE.

SO WHY AM I SITTING

HERE TELLING HIM?

I SAID, "BECAUSE WE'RE

AT WAR, YOU IDIOT.

YOU FREAKIN' IDIOT,

WE'RE AT WAR RIGHT NOW.

IF YOU GO,

YOU'RE GOING TO DIE."

HIS MOM CALLED ME TO TELL ME

THAT SHE WANTED ME

TO COME TO THE HOUSE.

"GOD, PLEASE DO ME A FAVOR.

AND JUST PLEASE,

I'M BEGGIN' YOU.

PLEASE LET IT BE ANYTHING

ELSE BUT NICHOLAS."

SHE'S SCREAMING AT

THE TOP OF HER VOICE.

"JUST COME, COME,

COME, COME, COME!"

"JUST COME, COME,

COME, COME, COME!"

SHE HUNG UP THE PHONE.

AND OH MY GOD, I KNEW.

I KNEW IT WAS NICHOLAS.

(DARK FOREBODING MUSIC)

- CULTURE OF WAR AND CULTURE

IN GENERAL OF ANY NATION

IS PERPETUATING CERTAIN

NUMBER OF SHORTCUTS,

CLICHES AND NARRATIVES THAT HELP

PEOPLE TO JOIN THE WAR.

- [MARIE] I JOINED THE MARINES

BECAUSE I NEEDED THE

MONEY TO GO TO COLLEGE

AND I DIDN'T THINK ABOUT WAR.

THERE'S A LOT OF SOLDIERS

OUT THERE LIKE MYSELF

WHO ACTUALLY JUST WENT OVER

JUST BECAUSE THEY WERE

TOLD TO GO OVER

BECAUSE WE SIGNED

A PIECE OF PAPER

AND DIDN'T REALLY KNOW

WHY WE WERE GOIN' TO WAR.

(DARK INTRIGUING MUSIC)

(SOFT INTRIGUING MUSIC)

- [ROSALYN] THE VERY

FACT A MONUMENT

WHICH EMBODIES THIS

NOTION OF HISTORY, MOVING.

HE BOTH DISRUPTS THEM

AND INTERVENES IN THEM

BRINGING OUT THE UNCONSCIOUS

WHICH MEANS THE

UNCONSCIOUS OF THE SOCIETY.

WHAT'S REPRESSED,

MAKING THINGS VISIBLE,

WHAT'S RENDERED

INVISIBLE BY POWER.

- WE NEED TO CHANGE

THE CULTURE, RIGHT?

WE NEED TO MOVE AWAY FROM

THE GLORIFICATION OF WAR,

WE NEED TO MOVE AWAY FROM

THE GLORIFICATION OF WAR,

THAT IDEA OF KILLING THE OTHER.

- [KRZYSZTOF] WE ROMANTICIZE

THE WAR,

AND THOSE MONUMENTS ARE VERY

MUCH PART OF THIS PROCESS

OF TELLING US THE THINGS,

THAT ROMANTIC VISION OF WAR,

THE KIND OF SENSE OF MISSION

AND LOFTY KIND OF SACRIFICE

THAT THE WAR OFFERS.

IT'S BEEN REPRODUCED,

REPLICATED SILENTLY

THROUGH THOSE WAR MEMORIALS.

WHY THIS STATUE?

WHY DO WE NEED THEM?

(BUSTLING STREET NOISE)

ARC DE TRIOMPHE, THE BIGGEST

SYMBOLIC WAR MACHINE IN EUROPE.

IT'S AMAZING HOW MANY

PEOPLE ARE VISITING IT

WITH CHILDREN AND FAMILIES

FROM ALL OVER EUROPE,

ALL OVER THE WORLD IN THE

MIDDLE OF EUROPEAN UNION.

ALL OVER THE WORLD IN THE

MIDDLE OF EUROPEAN UNION.

IT'S A KIND OF CONTRADICTION

IN SOME WAYS.

(ATMOSPHERIC MUSIC)

THE WHOLE NARRATIVE

OF THE MONUMENT

IS ABOUT THAT PEACE CAN ONLY

BE ACHIEVED THROUGH WAR.

YOU KNOW, THERE'S A WHOLE

SEQUENCE OF SCULPTURES

THAT SHOW FROM

DEPARTURE TO PEACE.

BUT YOU KNOW, THAT

PEACE WAS OBTAINED

AT THE EXPENSE, INCREDIBLE

AMOUNT OF DEAD PEOPLE.

NAPOLEONIC WARS PROVIDED

PRETTY MUCH THE MODEL

NAPOLEONIC WARS PROVIDED

PRETTY MUCH THE MODEL

FOR OTHER WARS,

EVEN MORE BLOODY.

YOU SEE THIS MARSEILLAISE?

IF ANYBODY BEHAVE LIKE THIS

OR ACTED LIKE THIS

IN A PEACETIME,

WILL BE IN PRISON OR

IN MENTAL HOSPITAL.

BUT WAR ALLOWS THIS

KIND OF BEHAVIORAL,

THIS KIND OF STATE OF MIND

TO BE TREATED AS NORMAL.

THE MOST HONORABLE REWARDED

WITH THE HIGHEST

MEDALS AND RESPECT.

AND ALSO YOU HAVE

THIS YOUTH.

OF COURSE, WE KNOW THAT THIS

IS ALLEGORY, AND IT'S ART.

BUT AT THE SAME TIME,

WE KNOW THERE ARE ENORMOUS

AMOUNT OF CHILD SOLDIERS

THAT ARE SENT STRAIGHT TO THE

BATTLE.

AND MASOCHISM OF WAR IS

BEING PERPETUATED HERE.

THE PLEASURE OF DYING OR

SUFFERING FOR THE LEADER

THE PLEASURE OF DYING OR

SUFFERING FOR THE LEADER

AND FOR NATION AND WHATNOT.

- [DREAD] THERE IS A

LOGIC IN MEMORIALS

THAT PERPETUATES WAR.

THE ARC DE TRIOMPHE IS OLD,

BUT IT'S BEING USED

IN THE MODERN ERA

TO RATIONALIZE THE WARS

THAT ARE GONNA BE FOUGHT

IN THE PRESENT AND FUTURE.

- I SAID, "WHAT ARE

YOU WORKING ON?"

AND HE DESCRIBED THIS PROJECT,

"TRANSFORMING OF THE

MONUMENT TO WAR,

THE ARC DE TRIOMPHE INTO

ITS COMPLETE ANTITHESIS."

BUT I'M THINKING

THE FRENCH WILL NEVER...

BUT I'M THINKING

THE FRENCH WILL NEVER...

NEVER GONNA LET HIM DO

THAT, YOU KNOW? (LAUGHING)

BUT THE MORE HE TALKED ABOUT IT,

THE MORE IMPORTANT

I THOUGHT IT WAS.

- [KRZYSZTOF] SO THIS

IS THE PROJECT.

IT LOOKS PRETTY NASTY,

I HAVE TO SAY.

BECAUSE IT WANTS TO BE

MORE OF AN INTERVENTION

TO REALLY ADDRESS THE

ISSUE IN A SHARP WAY.

BUT I THINK IT SHOULD

BE LIKE A SCAFFOLDING

BUILT AROUND THIS MONUMENT

WHICH WILL BE DECONSTRUCTIVE

STRUCTURED INSTITUTION

THAT WILL GIVE A CHANCE

FOR PEOPLE, TOURISTS,

THAT WILL GIVE A CHANCE

FOR PEOPLE, TOURISTS,

TO JOIN UN-WAR PROJECTS AND

ANALYZING THE CULTURE OF WAR.

(SOFT INTRIGUING MUSIC)

- IT MAKES YOU START TO

LIKE, QUESTION WHAT IS WAR?

WHAT IS THE

MECHANISMS BEHIND WAR?

MONUMENTS TELL SUCH

A DISTORTED HISTORY

AND FOR HIM TO ALLOW

FOR ALTERNATE HISTORIES

TO COME THROUGH THAT

IS SO IMPORTANT.

- IT COULD EASILY BE CLASSIFIED

AS VISIONARY ARCHITECTURE

AND YET KRZYSZTOF SAYS THAT

IT IS MEANT TO BE BUILT.

AND YET KRZYSZTOF SAYS THAT

IT IS MEANT TO BE BUILT.

(SOFT INTRIGUING MUSIC)

- [CAROL] THIS HYPOTHETICAL IDEA

OF

TRANSFORMING THE MONUMENT TO

WAR,

WHAT MOTIVATES SOMEONE

TO WANT TO DO

SUCH A WILD IDEA AS

WRAP THE ARC DE TRIOMPHE

IN A NEW STRUCTURE WHICH WOULD

BE ABOUT THE ABOLITION OF WAR

AND THE TRANSFORMATION

OF CONSCIOUSNESS?

WAR WAS VERY MUCH A

PART OF KRZYSZTOF'S LIFE

FROM THE VERY START.

(SOFT SOLEMN MUSIC)

- [KRZYSZTOF] I WAS BORN TWO

DAYS BEFORE THE OUTBREAK

OF GHETTO UPRISING IN WARSAW.

MY FATHER WAS NOT JEWISH,

BUT I WAS BORN OF JEWISH

MOTHER OUTSIDE OF GHETTO.

SHE TOLD ME THAT AFTER

GIVING BIRTH TO ME,

THROUGH THE WINDOWS

SHE COULD SEE BURNING,

DESTROYED GHETTO

BEING A BATTLEGROUND.

AND SHE SAID, "I LOOK

AT YOU, NEWBORN BABY,

AND I WAS HORRIFIED."

SHE SAID, "YOU LOOKED LIKE THIS

JEW IN ANTI-SEMITIC POSTERS."

SHE SAID, "YOU LOOKED LIKE THIS

JEW IN ANTI-SEMITIC POSTERS."

AND SHE WAS AFRAID THAT

WE WOULD DIE.

OF COURSE,

WE WERE HIDDEN.

BUT HER FAMILY WAS

IN WARSAW GHETTO.

MY FATHER WAS SAVING JEWISH.

HER PARENTS WERE ACTUALLY

SMUGGLED BY MY FATHER

TO HIDING IN SOME SMALL VILLAGE.

BUT PROBABLY THOSE

PARENTS WERE MURDERED.

TOWARDS THE END OF THE

WAR, THE DIFFERENCE

BETWEEN SLAVIC PEOPLE AND

JEWS WERE DIMINISHING.

MY FATHER IN FACT WAS

ROUNDED UP ON THE STREET,

ENDED UP IN THE LABOR CAMP.

(DARK MELANCHOLY MUSIC)

AFTER THE WAR, MY FATHER

BECAME DIRECTOR OF THE

FIRST PHILHARMONIC ORCHESTRA

BY THE BALTIC SEA,

CREATING COMPLETELY NEW

CULTURE OF MUSICIANSHIP.

BUT DURING THE TIME, HE WAS

ALSO EXPELLED FROM POLAND.

HE HAD TO MOVE ABROAD

AGAINST HIS WILL.

(ATMOSPHERIC MUSIC)

IN COMPARISON TO MY OWN

HISTORY, THERE'S SOME OVERLAP

BECAUSE THEY BASICALLY

KICKED ME OUT FROM POLAND.

ART CAN ACTUALLY PREVENT

TO REPEAT PAST

MISTAKES AND INJUSTICES.

THIS IS PART OF THE TRADITION

OF THE AVANT-GARDE ART.

(SOFT INTRIGUING MUSIC)

- KRZYSZTOF'S WORK

IS QUITE UNIQUE

IN THE WORLD OF ARTISTS WHO

ARE POLITICALLY ENGAGED.

(MYSTERIOUS INTRIGUING MUSIC)

HIS WORK BEGINS IN

POLAND IN THE '60S.

POLAND DURING THE '60S WAS

A VERY REPRESSIVE SITUATION.

(MYSTERIOUS INTRIGUING MUSIC)

- [KRZYSZTOF] WE WERE NOT

ALLOWED TO SPEAK IN PUBLIC.

WE COULD ONLY LISTEN.

AND EVERYBODY READING

UNDER AUTHORITARIAN CONTEXT

MUST BE VERY PRECISE IN

LISTENING

TO WHAT'S NOT BEING SAID.

MUST BE VERY PRECISE IN

LISTENING

TO WHAT'S NOT BEING SAID.

(SOFT INTRIGUING MUSIC)

(MYSTERIOUS INTRIGUING MUSIC)

THERE ARE SOME

EXPRESSIONS IN POLISH:

"TO HEAR WHAT ONE

CAN HEAR IN GRASS."

SOMETHING THAT IS

SUSPENDED IN THE AIR

SOMETHING THAT IS

SUSPENDED IN THE AIR

AND CAN ONLY HEAR WHEN

WE REALLY ARE VERY TUNED

PRECISELY TO SILENCES,

TO INFORMATION THAT

IS CENSORED, RIGHT?

TO THINGS THAT ARE OMITTED.

WE WERE TRYING TO HEAR THE

TRUTH BETWEEN THE LINES.

THIS IS THE CONTEXT

OF THIS INSTRUMENT.

SINCE WE WERE NOT ALLOWED

TO BE CREATIVE IN SPEAKING

SINCE WE WERE NOT ALLOWED

TO BE CREATIVE IN SPEAKING

BUT ONLY IN LISTENING,

WHY NOT DESIGN SPECIAL

EQUIPMENT FOR CREATIVE

LISTENING?

THE OPERATION OF THOSE FILTERS

WERE DONE THROUGH SENSORS

ATTACHED TO HANDS.

IF I CLOSE MY HANDS COMPLETELY,

THERE WAS NO LIGHT

COMING TO THE SENSORS.

THERE WAS SILENCE.

WHEN I OPEN IT TO

MAXIMUM LIGHT,

I COULD HEAR FULL FREQUENCY.

IT WAS MOSTLY GLISSANDO EFFECT,

BUT IT COULD ALSO BE INTERRUPTED

BY KIND OF RUPTURES OF SOUND.

THE IMPORTANT ASPECT OF IT,

IT WAS HIGHLY VISIBLE

WHAT I WAS DOING.

IT'S JUST NOBODY COULD

HEAR WHAT I HEARD.

IT'S KINDA REVERSING WHOLE

SITUATION OF THE CENSORSHIP.

(STATIC CRACKLING)

(SOFT INTRIGUING MUSIC)

- KRZYSZTOF WODICZKO WAS

ONE OF THE CRUCIAL ARTISTS

DURING THE '70S IN POLAND.

HE DIDN'T WANT TO LEAVE POLAND.

BUT WHEN HE WAS IN TORONTO,

THE POLISH EMBASSY,

THEY WAS TOLD THAT HE

SHOULD STAY IN THE WEST.

IT WAS VERY COMMON PRACTICE

BY COMMUNIST REGIME

TO REDUCE THE INTELLECTUALS,

THE ARTISTS

BECAUSE THEY WERE INFLUENTIAL.

(DARK INTRIGUING MUSIC)

- [KRZYSZTOF] AT NIGHT,

THE CITY BUILDINGS

ARE WRESTLING WITH

THEIR DAILY EXPERIENCES,

AS IF THEY HAD NIGHTMARES

ABOUT WHAT THEY DO

DURING THE DAY.

IT LOOKS LIKE THE BUILDINGS

ARE HAVING REAL DREAMS

OF THE DAILY ACTIVITIES.

(DARK INTRIGUING MUSIC)

I BEGUN PUBLIC PROJECTIONS

IN TORONTO IN 1981.

I PROJECTED ON THIS BUILDING

JUST PARTS OF A HUMAN BODY

TO TURN THEM INTO

BODILY CREATURES.

TAKING ADVANTAGE OF

THIS BODILY METAPHOR

THAT IS IN NEOCLASSIC

ARCHITECTURE

BUT ALSO IN MODERNIST

BUILDINGS AS WELL.

I SIMPLY HELP THOSE

BUILDINGS TO BECOME BODIES.

I SIMPLY HELP THOSE

BUILDINGS TO BECOME BODIES.

A LITTLE BIT TURNING THE CITY

INTO BRECHTIAN THEATER, YOU

KNOW?

BUT IT WAS VERY CLEAR

THAT THEY REALLY RESEMBLED

IN MANY WAYS PEOPLE WHO

WORK IN THOSE BUILDINGS.

KEY TURNING POINT WAS

WHEN I SAW GROUP OF PEOPLE

WHO LOOK AT THIS AND

STARTED TO LAUGH.

THE LAUGHTER WAS A

REVELATION TO ME

THE LAUGHTER WAS A

REVELATION TO ME

BECAUSE IT'S CLEAR

THAT THEY REALIZED

THAT THERE'S SOMETHING

IN THOSE BUILDINGS

THAT IS INSIDE OF THEM.

I PROJECT IT ON THE

STUTTGART VICTORY COLUMN

WHICH RESEMBLE A MISSILE.

IT WAS VERY IMPORTANT

BECAUSE IT THEN OPENED

ANOTHER KIND OF POSSIBILITY

OF ANIMATING MONUMENTS,

ESPECIALLY WAR MEMORIALS

REVEALING THEIR FUNCTION

OF SYMBOLIC WAR MACHINES,

MAJOR REPRODUCERS OF WAR.

YOU KNOW, THAT PERPETUATE WAR.

(DESOLATE INTRIGUING MUSIC)

THAT REALLY REINFORCED MY...

KIND OF INTEREST IN

CONTINUATION OF THIS WORK,

THIS PROJECTIONIST LIFE WHICH

LASTS UNTIL TODAY, YOU KNOW.

(INTRIGUING RHYTHMIC MUSIC)

- [KRZYSZTOF] AFTER I RECEIVED

HIROSHIMA ART PRIZE,

WHICH IS PEACE PRIZE FOR

ARTISTS, I VISITED HIROSHIMA.

I RECOGNIZED HIROSHIMA

AS IT RELATED TO WARSAW.

SIMPLY BECAUSE VISUALLY,

HIROSHIMA

WAS FLATTENED COMPLETELY.

(INTRIGUING RHYTHMIC MUSIC)

OF COURSE TO THIS, YOU HAVE

TO ADD THE RADIATION EFFECT.

THIS PRIZE MOBILIZED ME TO

PRODUCE HIROSHIMA PROJECTION

THIS PRIZE MOBILIZED ME TO

PRODUCE HIROSHIMA PROJECTION

ABOUT NUCLEAR BOMBING.

THIS PROJECTION ENGAGED THE

BUILDING THAT SURVIVED BOMBING.

THE MONUMENT, A-BOMB DOME.

- THE HIROSHIMA PROJECT

WAS THE FIRST MAJOR PROJECT

ASSOCIATED WITH TRAUMA.

IT'S THE FIRST PROJECT

WHERE THE BUILDING

BECAME A BODY.

I GET CHILLS WHEN

I REMEMBER THE STORY

KRZYSZTOF'S PARTICIPANTS TOLD,

HOW PEOPLE JUMPED IN

THE RIVER FOR RELIEF.

(WATER TRICKLING)

(SOFT INTROSPECTIVE MUSIC)

- TEN YEARS AGO,

I WAS THINKING, YOU KNOW,

THE WAR ABOLITION AND THE

ARC DE TRIOMPHE PROJECT.

THE WAR ABOLITION AND THE

ARC DE TRIOMPHE PROJECT.

IT IS IMPOSSIBLE.

WE SHOULD NOT EVEN

TALK ABOUT THIS.

I THINK IT'S A WONDERFUL

IDEA, BUT IT'S IMPOSSIBLE.

BUT HE'S LIKE A TANK

SLOWLY, SLOWLY MOVING.

BUT HE IS DEFINITELY DOING

SOMETHING ABOUT THIS.

WRITING A BOOK,

HIS PROJECT IS MOVING.

HE DOESN'T GIVE UP AND HE

WRITE THE HUGE, HUGE ARTICLES,

HUGE TALKS.

HE THINK CONSTANTLY.

HE'S OBSESSED.

- RIGHT NOW, ALL OF WHAT

WE CALL NATIONAL CULTURE

IS BY PRINCIPLE WAR CULTURE.

WE HAVE TO QUESTION THE

WHOLE DEMOCRATIC SYSTEM

AND DEPLOY NEW RADICAL

DEMOCRATIC METHODS

TO WAKE UP THIS SYSTEM

AND WILL HAVE TO ATTACK

SO-CALLED DEMOCRACY.

BECAUSE THE WAY THE

POLITICAL-ECONOMICAL SYSTEM

WORKS,

IT DEPRIVES PEOPLE OF

ACCESS TO THEIR RIGHTS.

IT DEPRIVES PEOPLE OF

ACCESS TO THEIR RIGHTS.

- [VETERAN] WAR IS NOT JUST

WE GO THERE, WE FLY THE FLAG,

WE SHOOT A FEW THINGS

AND WIN AND WALK AWAY

WHICH HAS BEEN PROPAGANDA

SINCE THE FIRST WORLD WAR,

IF NOT BEFORE OR

BEFORE OR BEFORE THAT.

(GUN BLASTING)

- I KNOW, I AM SURE EVEN,

WE WILL HAVE LIKE THE

ABOLITION OF SLAVERY.

WE WILL HAVE ABOLITION OF WAR.

(SOFT INTRIGUING MUSIC)

- I THINK HE REALLY BELIEVES

THAT HE'S GONNA HAVE

THIS PROJECT COMPLETED.

WHEN HE SHOWED IT TO ME

IN HIS SO-CALLED OFFICE

WHICH WAS THE COFFEE SHOP

DOWN ON THE LOWER EAST SIDE,

MY INITIAL RESPONSE WAS, "NO,

THIS IS NEVER GONNA TAKE PLACE.

BUT OH, I THINK IT

IS POSSIBLE ACTUALLY."

- [KRZYSZTOF] OKAY. WHAT

ARE WE DOING, MARIA?

TELL ME.

- OKAY.

(ESPRESSO MACHINE GETTING LOUD)

LISTEN, THIS IS NOT A SIMPLE

MATTER, WHAT I'M SAYING.

I AM DISTURBED BY

SOUNDS ALL MY LIFE.

AND I KNOW LOTS OF

PEOPLE LIKE ME.

OF COURSE SOMEBODY

COULD BLAME THE FACT

THAT I WAS A BABY

DURING THE WAR.

I DON'T REMEMBER WAR AT ALL.

BUT THE WAR IS INSIDE

OF ME, REMEMBERS ME.

BUT THE WAR IS INSIDE

OF ME, REMEMBERS ME.

I RESPOND

TO THE SOUNDS.

I'M OVERLY SENSITIVE

TO CERTAIN THINGS.

AS WAR VETERANS

WITH WHOM I WORK,

THEY HAVE VERY

SIMILAR REACTION.

AND I HAVE TO TELL THEM

THIS IS DISTURBING ME TOO MUCH.

I LIKE COFFEE SHOPS,

BUT I DON'T LIKE WHEN

PEOPLE SPEAK TOO LOUD.

YEAH.

OKAY.

(PATRON CHATTERING)

COULD YOU SPEAK LITTLE LOWER?

BECAUSE WE HAVE

INTERVIEW NOW.

'CAUSE IT'S VERY

ACOUSTIC, THIS PLACE.

BUT ALSO ANOTHER THING IS

THAT IN THE UNITED STATES,

PEOPLE ARE ABUSING

PUBLIC SPACE

WITH THEIR SPEECH ALL THE TIME.

THEY HAVE A VULGAR RELATION

TO FIRST AMENDMENT.

THEY THINK THAT BECAUSE

IT'S A FREEDOM OF SPEECH,

THEN THEY CAN SPEAK

AS LOUD AS THEY WISH.

THEN THEY CAN SPEAK

AS LOUD AS THEY WISH.

WITHOUT UNDERSTANDING

THAT BY DOING THIS,

THEY PREVENT OTHERS

FROM THE SAME RIGHT.

IT'S ALL ABOUT RIGHTS.

IT'S NOTHING ABOUT OBLIGATIONS.

(BEATING RHYTHM)

(BIRDS CHIRPING)

- [HOMELESS MAN] YOU

HAVE A SIDE DOOR RIGHT HERE.

- YES.

- OKAY?

- SO IT WILL OPEN THIS WAY.

- IT WILL SWING OUT.

- YEAH.

- YOU HAVE A BASKET IN FRONT.

- [KRZYSZTOF] RIGHT.

- [HOMELESS MAN] SEE,

THIS DOESN'T HAVE TO BE

A COMPLICATED MATTER.

- [KRZYSZTOF] WELL THAT'S

WHY I WANT-

- [HOMELESS MAN] YOU

UNDERSTAND WHAT I'M SAYIN'?

- [HOMELESS MAN] YOU

UNDERSTAND WHAT I'M SAYIN'?

BECAUSE IT COULD BE

CHEAPLY MADE, OKAY?

AND IT COULD BE OF

A CONSUMER TYPE.

- WHEN I ARRIVED TO

UNITED STATES FROM CANADA,

I WORKED ON MY HOMELESS

VEHICLE PROJECT AT THE TIME

WHEN THERE WAS 100,000 HOMELESS

PEOPLE IN NEW YORK CITY.

MANY HOMELESS PEOPLE

WHO LIVE HERE

WERE FORMER SOLDIERS

FROM VIETNAM.

SO THEY WERE IN FACT CONTINUING

THEIR LIFE LIKE IN A JUNGLE.

THEY CONTINUED THEIR

WAR TO SURVIVE

THEY CONTINUED THEIR

WAR TO SURVIVE

IN NEW YORK CITY

RATHER THAN IN VIETNAM.

- [HOMELESS MAN] LIKE THIS GUY

HERE, HE'S NOT AN ACTOR, RIGHT?

HE'S A REAL

HOMELESS PERSON, RIGHT?

SO YOU'RE USIN' A REAL

HOMELESS PERSON IN YOUR FILM.

- YO BUDDY, DO ME A FAVOR.

JUST STEP OFF, ALL RIGHT?

JUST BACK OFF AND MIND

YOUR BUSINESS, ALL RIGHT?

BACK OFF, ALL RIGHT?

- [DREAD] IN NEW YORK

AT THE TIME,

GENTRIFICATION WAS

GOING ON AND DISPLACEMENT

AND SOME PEOPLE

WERE DEMANDING

THAT THESE HOMELESS

BE REMOVED

AND YET PEOPLE WERE

BOTH SQUATTING

IN PARTS OF THE EAST VILLAGE

IN TOMPKINS SQUARE PARK.

IN PARTS OF THE EAST VILLAGE

IN TOMPKINS SQUARE PARK.

AND SO KRZYSZTOF SAYS, "NO.

AS ARTISTS, AS PEOPLE

IN THE ARTS,

WE HAVE A RESPONSIBILITY

TO LOOK AT THAT AND

PROPOSE SOLUTIONS.

WOULD IT BE A MUCH

BETTER SOCIETY

IF THERE WERE SAY 20,000

OR 50,000 HOMELESS VEHICLES

OUT THERE OR WOULD IT BE BETTER

TO ACTUALLY FIND

HOMES FOR PEOPLE?

- [GREG] KRZYSZTOF

IDENTIFIES WITH THESE PEOPLE

WHO HAVE NOTHING.

THEY ARE LIVING IN THE

STREET OR IN A PARK.

HE PUTS THE WORD OUT

THERE LIKE A CALLING CARD

INVITING THEM TO BE PART OF HIS

ART, PARTICIPATE IN HIS ART.

INVITING THEM TO BE PART OF HIS

ART, PARTICIPATE IN HIS ART.

(SOFT INTRIGUING MUSIC)

(DOG BARKING)

- I LIVED ON 7TH STREET IN

BROOKLYN, NEW YORK CITY.

BETWEEN C&D, IT WAS

THE CENTER OF CRACK.

THE BUILDINGS WERE ON FIRE

ALL THE TIME AROUND US

AND I THINK THE LANDLORDS

WERE SETTING THOSE FIRES.

I GREW UP IN RUINS BY

THE BALTIC SEA AS WELL,

BUT WARSAW WAS THE REAL

EXPERIENCE WITH RUINS.

(SOFT INTRIGUING MUSIC)

LOOKED EXACTLY THE SAME

AS EAST VILLAGE.

- KRZYSZTOF WODICZKO,

SO THIS IS YOUR RESPONSE TO

A SPECIFIC SOCIAL PROBLEM.

ONE THAT I'M IMAGINING

THAT AS SOMEBODY

WHO GREW UP IN

COMMUNIST POLAND,

WHO GREW UP IN

COMMUNIST POLAND,

YOU WOULD NOT REALLY

HAVE EXPERIENCED THAT

UNTIL YOU CAME TO THE WEST.

IS THIS A REFLECTION OF

YOUR CULTURE SHOCK

IN MAKING THAT JOURNEY AS WELL?

- OF COURSE IT WAS A SHOCK,

BUT ALSO IT WAS A POSSIBILITY

TO REALLY FULLY ACT IN PUBLIC

SPACE WITH FULL STRENGTH

TO ACTUALLY EXPOSE ISSUES

AND CREATE CONDITIONS FOR

PEOPLE TO CONFRONT EACH OTHER,

EXCHANGE POINTS OF VIEW

THROUGH DESIGN AND ART.

EXCHANGE POINTS OF VIEW

THROUGH DESIGN AND ART.

SOMETHING I COULD NOT IMAGINE

HAVING IN MY OLD COUNTRY

UNDER PREVIOUS REGIME.

- ART WAS GENERALLY BEING USED

TO CREATE A POSITIVE

IMAGE FOR REDEVELOPMENT.

WHEN I SAW

WODICZKO'S HOMELESS VEHICLE,

I SAW ART DOING SOMETHING

ENTIRELY DIFFERENT.

HOMELESS VEHICLE HAD A FEELING

OF BEING A METAPHORICAL WEAPON

AGAINST VIOLENCE THAT WAS BEING

DONE TO PEOPLE IN THE CITY.

- [DREAD] THOSE HOMELESS

VEHICLES

WERE BOTH PRACTICAL BUT ABSURD.

IF YOU HAPPENED TO BE

HOMELESS AND ACTUALLY GET ONE,

IT WOULD'VE POTENTIALLY

BEEN USEFUL.

BUT IT WAS MORE

POSING A QUESTION

OF WHAT KINDA SOCIETY

THAT HAS ALL THIS WEALTH

THAT COULD ACTUALLY

FEED, CLOTHE AND SHELTER

EVERYBODY THAT LIVES HERE, LETS

PEOPLE EXIST WITHOUT A HOME

AND ATTACKS THEM WHEN THEY'RE

TRYING TO PUT TENTS TOGETHER?

(DARK INTRIGUING MUSIC)

(BEATING RHYTHMIC MUSIC)

- I WAS A STUDENT OF KRZYSZTOF'S

AND THEN WAS LUCKY ENOUGH

TO BECOME HIS COLLEAGUE.

KRZYSZTOF'S WORK WAS

SO INFLUENTIAL TO ME.

THE FIRST TIME I SAW IT,

IT BLEW ME AWAY.

I DIDN'T KNOW THAT

THIS COULD BE ART.

ONE OF THE FIRST

PIECES THAT I SAW

THAT REALLY MOVED

ME WAS DIS-ARMOR.

IT WAS A JAPANESE STUDENT

WHO WORE THIS DEVICE,

COULD SPEAK THROUGH

A PORTAL ON HER BACK,

WERE THESE TWO SCREENS

WHERE YOU JUST SEE HER EYES.

AND THEN SHE TOLD THESE

INCREDIBLY DIFFICULT STORIES

ABOUT THE WAY SHE

WAS BEING BULLIED,

ABOUT THE WAY SHE

WAS BEING BULLIED,

HER RELATIONSHIP WITH HER

PARENTS AND HER CULTURE.

- [ANI] IT APPEARED TO

BE VERY THERAPEUTIC

- [ANI] IT APPEARED TO

BE VERY THERAPEUTIC

FOR THE PERSON WEARING IT.

AND NOT ONLY THAT,

IT WAS DEFINITELY THERAPEUTIC

FOR ME WATCHING IT.

AS A CHILD OF IMMIGRANTS,

AS SOMEONE WHO IS TAUGHT

CULTURALLY IN ONE WAY

NOT TO BE OVERLY EMOTIONAL,

IT REALLY FREED ME.

- I FIND THAT REALLY INTERESTING

WITH A LOT OF HIS WEARABLES

THAT THEY COULD BE

PERCEIVED AS WEAPONS

OR EVEN LIKE THEY HAVE THIS

KIND OF MILITARY AESTHETIC,

BUT THEY'RE MORE LIKE

CONDUCTORS OF PEACE.

I GUESS THAT'S WHY HE CALLED

IT "INTERROGATIVE DESIGN."

AROUND 2013, 2014,

A LOT OF WEARABLE

TECHNOLOGY BECAME SUPER HOT.

AND THEN SUDDENLY

I'M LIKE WOW, KRZYSZTOF

WHO'S BEEN MAKING

WEARABLE TECH ART

FOR LIKE DECADES BEFORE THIS,

BEFORE EVERYONE WAS LIKE

ALL ABOUT WEARABLE TECH.

BEFORE EVERYONE WAS LIKE

ALL ABOUT WEARABLE TECH.

(SOFT DRONING MUSIC)

NOT ONLY THAT, HIS WORK

WAS BOTH VERY CRITICAL

OF THE TECHNOLOGY BUT ALSO USED

IT TO BE INCREDIBLY POETIC.

(CITIZENS CHATTERING)

HE MADE TOTEMS DESIGNED

FOR IMMIGRANTS

TO BE ABLE TO COMMUNICATE THEIR

HISTORIES AND THEIR STORIES

OF WHO THEY ARE,

WHERE THEY CAME FROM,

TO BE EMPOWERED

AND NOT ASHAMED

OF THESE ASPECTS OF THEMSELVES.

IN THE CONTEXT OF XENOPHOBIA,

I FEEL LIKE IN ORDER

TO COMBAT XENOPHOBIA,

IT'S A LOT OF HIDING.

IT'S A LOT OF LIKE PRETENDING

THAT I'M JUST PART

OF THE BACKGROUND

OR THAT YOU KNOW, I'M

AS AMERICAN AS POSSIBLE.

OR THAT YOU KNOW, I'M

AS AMERICAN AS POSSIBLE.

BUT A TOOL IN WHICH

SOMEONE CAN UNDERSTAND

WHO YOU ACTUALLY ARE TO BUILD

THOSE BRIDGES OF EMPATHY,

TO SHARE THESE KIND OF STORIES,

YOU KNOW, SOME ASPECT

OF A UNIVERSAL HUMAN

I THOUGHT WAS VERY POWERFUL

AND PROFOUND AND CATHARTIC.

(SOFT MELANCHOLY MUSIC)

- [ROSALYN] THE HOMELESS

VEHICLE,

THE ARC DE TRIOMPHE PROJECT

AND PROJECTS THAT HE DID

UNDER THE AEGIS OF

INTERROGATIVE DESIGN

UNDER THE AEGIS OF

INTERROGATIVE DESIGN

ARE DESIGNED NOT ONLY TO HELP

THE PEOPLE THAT ARE HOMELESS

OR IMMIGRANTS, LIKE HIS

IMMIGRANT INSTRUMENTS,

BUT IN SOME WAY TO

HELP HEAL THE SOCIETY.

HE TAKES THE NOTION

OF HEALING SERIOUSLY,

WHAT MIGHT ACTUALLY HEAL.

- AND ARE YOU SURE THIS

IS THE RIGHT POSITION?

- [LOADER] YEAH, I THINK IT'S

RIGHT.

- [LOADER] YEAH, I THINK IT'S

RIGHT.

- LAMEES AND AMEEN TAKE THREE.

(CLAPPERBOARD SNAPPING)

- THANK YOU.

- YOU DID GOOD.

I THINK THE LEAST HEARD VOICES

ARE THE VOICES OF

WOMEN IN ANY WAR.

BEING FROM THE MIDDLE EAST

AND BEING FROM IRAQ ITSELF,

I THINK MORE SO

THAN ANYWHERE ELSE.

RIGHT AFTER THE WAR

WHEN THEY STARTED DIGGING

UP THE MASS GRAVES,

WOMEN WERE FLOCKING

TO THESE GRAVES

WOMEN WERE FLOCKING

TO THESE GRAVES

CARRYING A SMALL IDENTITY CARD.

BUT WHAT THEY FOUND WERE BONES

UPON BONES OF EXECUTED MEN,

OF FAMILIES THAT

WERE BURIED ALIVE.

AND I THINK THE ROLE THAT, THAT

CHANGED FOR WOMEN IN THE WAR

WAS YOU KNOW, WHERE YOU HAVE

THE HOMEMAKER IN GENERAL

WHERE SHE TAKES CARE OF THE

HOME, TAKES CARE OF THE KIDS.

IT MOVED, IT CHANGED

BECAUSE SHE HAD TO

BE THE ONE GOING OUT

AND LOOKING FOR THOSE BODIES

BECAUSE THE MEN IN

THE FAMILY WERE GONE.

I THINK THE FIRST

THING THAT YOU NOTICE

IN WAR IS THE MISSILES.

AT NIGHT WHEN THE

MISSILES WOULD START,

IT'S LIKE THEY

TEAR UP INSIDE OF YOU.

THEY'RE INSIDE OF YOU ALL

THE TIME, THAT SOUND. (CRYING)

IT'S SO DEEP NOBODY UNDERSTANDS

THE DEPTH OF WHERE

THAT GOES. (WEEPING)

AND I THINK I JUST

SURRENDER TO GOD THEN.

I THINK THE WAR

WITH WHATEVER IT DID,

I THINK THE WAR

WITH WHATEVER IT DID,

DESTRUCTION OR WHATEVER

LIVES IT TOOK.

I THINK WHAT THE MOST IT

TOOK FROM US AS IRAQIS

IS OUR SENSE OF BELONGING.

THAT SAFETY, THAT SENSE OF HOME,

THAT SENSE OF

BELONGING IS GONE,

BECAUSE YOU DON'T FEEL

YOU BELONG TO THIS.

YOU DON'T FEEL YOU BELONG TO

A COUNTRY THAT'S BEING RAPED.

AND I REMEMBER EVERY

NIGHT I'D GO TO SLEEP.

I'D GO TO SLEEP THINKING

THAT WE WERE GOING TO DIE,

ME AND MY HUSBAND

AND MY SON WOULD BE THE

ONLY ONE IN THE HOUSE.

AND MY SON WOULD BE THE

ONLY ONE IN THE HOUSE.

AND THERE WOULD BE NOBODY

THERE TO TAKE CARE OF HIM

AND HE WOULD DIE OF

HUNGER OR AN ANIMAL.

AND THAT FEAR STAYED WITH

ME EVEN AFTER I LEFT IRAQ.

- [KRZYSZTOF] OVERWHELMING

EXPERIENCES

OF WAR THAT ARE INSCRIBED

INTO THE SOUL OF PARENTS,

THEY ARE NOT AWARE OF IT.

AND CHILDREN ARE

ACTUALLY NOT AWARE

THAT THEY ACTUALLY

RECEIVING PART OF IT.

THAT THEY ACTUALLY

RECEIVING PART OF IT.

THE WAY MY MOTHER WAS

ACTING AND BEHAVING

WAS A MYSTERY TO ME.

SHE ACTED AS A RESULT

OF HER WAR EXPERIENCE,

SO SHE DIDN'T TALK

ABOUT THOSE THINGS.

SHE PREVENTED ME FROM

KNOWING ANY DETAILS.

NOW 'CAUSE I WORK WITH

TRAUMATIZED PEOPLE,

I TRY TO LEARN

SOMETHING ABOUT TRAUMA

AND I'M ALSO LEARNING SOMETHING

ABOUT MY OWN REACTIONS.

- WELL I THOUGHT THE PRINCIPAL

WHO WAS MADE UP IN MY DREAM

- WELL I THOUGHT THE PRINCIPAL

WHO WAS MADE UP IN MY DREAM

WAS KILLING EVERYONE,

AND EVERYONE WAS IN CAGES.

AND THEN MY DREAM ENDS

WHEN THE PRINCIPAL

IS ABOUT TO KILL ME.

AFTER THAT DREAM HAPPENED,

I HAD NIGHTMARES HAPPENING

ALMOST EVERY DAY.

AND...IT SEEMS

LIKE SOMETHING

WAS LEFT OVER FROM

THE WAR INSIDE ME.

WAS LEFT OVER FROM

THE WAR INSIDE ME.

- [KRZYSZTOF] SO WHAT ELSE

WOULD YOU LIKE TO SAY?

YOU ARE THE FUTURE

OF THIS COUNTRY.

THERE'S SOMETHING

THAT CAN BE DONE

SO CHILDREN WILL NO LONGER

HAVE THESE KIND OF NIGHTMARES.

- IF I COULD CHANGE

THINGS IN THE WORLD,

I WOULD MAKE IT SO THAT NOBODY

WOULD HAVE TO GO THROUGH,

I WOULD MAKE IT SO THAT NOBODY

WOULD HAVE TO GO THROUGH,

JUST, WAR ITSELF.

LIKE NO MORE WARS.

AND SO NOBODY HAS TO

YOU KNOW, LIVE IN FEAR

THAT THEY'RE GONNA GET

KILLED THE NEXT DAY

BECAUSE WARS ARE CHANGING

THE ENTIRE WORLD AND

IT'S DESTROYING

EVERYTHING, HUMANITY.

EVEN AFTER WARS,

EVERYTHING'S...

EVEN AFTER WARS,

EVERYTHING'S...

EVERYTHING'S JUST

NEVER THE SAME.

PEOPLE ARE...

(MELANCHOLY MUSIC BUILDS)

- [LAMEES] IT'S OKAY.

IT'S OKAY.

- [AMEEN] IF THERE WERE NO WARS,

ANYWHERE,

EVERYONE COULD JUST LIVE IN

PEACE WITHOUT ALL THESE DEATHS.

(SOFT MELANCHOLY MUSIC)

- I TOLD KRZYSZTOF, "THANK

YOU FOR THE LETTING ME SPEAK,"

BECAUSE I SPENT THE LAST

SIX YEARS HERE IN CANADA

HAVING PEOPLE SAY, "OH, I THINK

YOU SHOULD SEE A COUNSELOR

IF YOU'RE THAT YOU

KNOW, TRAUMATIZED."

AND WHAT YOU NEED

IS A HUMAN BEING

WHO UNDERSTANDS YOU

AND KNOWS YOU

TO TALK ABOUT IT AND SAY,

"HEY, THIS IS WHAT HAPPENED.

IT'S OKAY 'CAUSE

I'M OKAY."

(DARK INTRIGUING MUSIC)

- [KRZYSZTOF] NOW WHEN WE

SEE MASSES OF REFUGEES,

THEY'RE FLEEING CIVIL

WARS IN THEIR COUNTRIES.

IT'S DEFINITELY TIME TO REALIZE

THE IMPACT OF WAR ON CIVILIANS.

WHEN I SEE THE SITUATION

OF REFUGEES TODAY,

IT'S EXTREMELY SAD.

OF COURSE WHAT CAN ART DO

TO HELP US TO OPEN UP

AND LISTEN TO THOSE

WHO ARE IN A WORSE POSITION?

WE SHOULD LOOK UP TO THEM

RATHER THAN DOWN AT THEM.

(DARK INTRIGUING MUSIC)

- WHEN YOU HEAR THE STORIES

THAT ARE TOLD BY THE MIGRANTS

AND THEY'RE TOLD

BY THE VETERANS,

YOU HAVE OFTEN THE SAME TRAUMAS.

BOTH VETERANS AND

MIGRANTS CAN BECOME PAWNS

BOTH VETERANS AND

MIGRANTS CAN BECOME PAWNS

IN A MUCH LARGER BATTLE

THAT HAS VERY LITTLE

TO DO WITH THEM

AND OFTEN HAS TO

DO WITH CAPITAL.

(SOFT STRIKING MUSIC)

GETTING TO THE POINT

OF UN-WARRING OURSELVES

IS PROBABLY GOING TO BE AN ART.

AND BECAUSE ART HAS

OFTEN THE POSSIBILITY

OF THINKING OUTSIDE THE

BOX OR THINKING CREATIVELY

ABOUT THINGS THAT

WE TAKE FOR GRANTED.

ABOUT THINGS THAT

WE TAKE FOR GRANTED.

- [ANI] THE IMPOSSIBLENESS OF IT

I THINK IS WHAT MAKES

IT SO IMPORTANT.

IT REQUIRES AN UNDOING OF

DEEP PSYCHOLOGICAL GROUNDWORK

THAT HAS BEEN LAID BY LIKE

GENERATIONS OF BEING HUMAN.

THAT HAS BEEN LAID BY LIKE

GENERATIONS OF BEING HUMAN.

AND SO HOW DO YOU UNDO THAT?

LIKE HOW DO YOU UN-PROGRAM IT

FROM ALMOST LIKE A DNA LEVEL?

I THINK HE'S TOTALLY RIGHT.

IT REQUIRES A COMPLETE

PARADIGM SHIFT.

(SOFT MELANCHOLY MUSIC)

(WHISTLING)

(DARK FOREBODING MUSIC)

- [REPORTER] FRENCH

PRESIDENT FRANçOIS HOLLANDE

HAS COME OUT AND

SAID THAT HIS COUNTRY

IS UNDER THE THREAT

OF ISLAMIC TERRORISM.

- [REPORTER] THE FRENCH

LAUNCHING AIRSTRIKES

AGAINST ISIS TARGETS IN

SYRIA OVER THE WEEKEND.

THIS OF COURSE IN RESPONSE

TO FRIDAY'S HORRIFIC

TERROR ATTACK.

- [REPORTER] TONIGHT,

VIOLENT PROTESTS

IN ONE OF THE WORLD'S

MOST FAMOUS CITIES.

POLICE CLASHING WITH

ANTI-GOVERNMENT

DEMONSTRATORS IN PARIS

FOR A THIRD STRAIGHT WEEKEND.

CARS THERE SET ON FIRE.

THE FAMED ARC DE TRIOMPHE

VANDALIZED.

- [REPORTER] PEOPLE

BROKE INTO THE MONUMENT,

- [REPORTER] PEOPLE

BROKE INTO THE MONUMENT,

LOOTING THE GIFT

SHOP, DAMAGING ARTWORK.

(DARK INTRIGUING MUSIC)

- [KRZYSZTOF] ALL OF THIS

TOGETHER

MAKES IT AT THIS POINT

PRACTICALLY UNREALISTIC

TO EVEN DISCUSS THIS PROJECT

SO EASILY BY ANYONE IN FRANCE.

I WILL NOT GIVE UP THE NEED TO

BE CLOSE TO THIS WAR MACHINE

AND LET PEOPLE UN-WAR THEMSELVES

'CAUSE EVERYONE IS

TALKING ABOUT PEACE.

BUT VERY, VERY FEW

PEOPLE REALLY ARE WILLING

TO GET INTO DEEP THINKING

OF WHY OUR

WAR MIND IS SO STRONG.

SO WE HAVE GET CLOSER TO

THOSE RELIEFS EYE TO EYE.

SO WE HAVE GET CLOSER TO

THOSE RELIEFS EYE TO EYE.

THIS PROJECT HAS NOT BEEN

REALIZED, BUT THE DAY WILL COME.

IT WILL HAPPEN.

PEOPLE WILL LEARN HOW ABSURD

RESOLVING OR DEALING WITH

HUMAN CONFLICT THROUGH WAR IS.

(PATRONS CHATTERING)

I HAVE TO SAY THAT

I'M NOT STOPPING.

I'M NOT EVEN SLOWING DOWN

WITH MY UN-WAR PROJECTS.

I DO WHAT I CAN AND I CONTINUE.

(SLOW PIANO TUNE)

- YOU TOLD ME THAT

I'M A MISOGYNIST,

THAT I'M A RACIST,

THAT I'M A HOMOPHOBE

WHEN MANY OF MY FRIENDS

FALL INTO THOSE CATEGORIES.

- YOU THINK THAT

ALL LIVES MATTER,

MEANWHILE WE'VE

ALL BEEN SAYING THIS.

MEANWHILE WE'VE

ALL BEEN SAYING THIS.

MY LIFE MATTERS AND I THINK

THAT YOUR LIFE MATTERS.

ALSO,

I GET TO HAVE A VOICE.

YOU THINK THAT,

BY ME SPEAKIN' UP,

THAT ME BEING PASSIONATE IS

ME BEING AN ANGRY BLACK MAN.

- I NEVER SAID THAT

I HATE GAY PEOPLE,

THAT I HATE BLACK PEOPLE

OR PEOPLE OF ANOTHER

RACE THAN MYSELF.

- YOU THINK THAT WHEN I TALK
ABOUT ISSUES

CONCERNING INJUSTICE THAT

I'M ASKING FOR A HANDOUT.

YOU THINK THAT

WHERE I COME FROM IS...

NOTHING YOU BELIEVE

MAKES SENSE.

- HORRIBLE.

YOU HAVE NO ARGUMENT TO

SUPPORT THIS EMOTION.

I GET YOU'RE EMOTIONAL.

YOU KNOW, YOU'RE ENTITLED

TO YOUR OPINIONS.

- RACIST.

- SNOWFLAKE.

- RACIST.

- SNOWFLAKE.

(SOFT INTRIGUING MUSIC)

I DON'T THINK WE'RE TOO FAR

GONE THAT A CIVIL WAR IS COMING.

I WOULD SAY THAT

THERE'S A LITTLE BIT

OF A CIVIL WAR OF

WORDS GOING ON

IT FEELS LIKE, AS FAR AS

THE POLITICAL DIVIDE GOES.

BUT I CERTAINLY HOPE

AND DON'T BELIEVE

THAT WE ARE HEADED TO

AN ACTUAL CIVIL WAR.

I THINK THAT DIVIDE

IS CLEARLY ILLUSTRATED

WHEN YOU LOOK AT A VOTING MAP.

(PLATFORM CLACKING & SQUEAKING)

(SOMBRE PIANO MUSIC)

(INTROSPECTIVE RHYTHMIC MUSIC)