[Script Info]
Title: 
[Events]
Format: Layer, Start, End, Style, Name, MarginL, MarginR, MarginV, Effect, Text
Dialogue: 0,0:00:13.71,0:00:15.52,Default,,0000,0000,0000,,[ ELI SUDBRACK ]\NAll of this,
Dialogue: 0,0:00:15.52,0:00:17.56,Default,,0000,0000,0000,,the work in general,
Dialogue: 0,0:00:17.56,0:00:18.92,Default,,0000,0000,0000,,it's about being free.
Dialogue: 0,0:00:20.39,0:00:23.34,Default,,0000,0000,0000,,You should express yourself\Nthe way you want it to be.
Dialogue: 0,0:00:23.80,0:00:27.40,Default,,0000,0000,0000,,Go after things in your life\Nthat bring you pleasure.
Dialogue: 0,0:00:30.12,0:00:32.96,Default,,0000,0000,0000,,Gay politics,\Nhuman right politics, whatever,
Dialogue: 0,0:00:32.96,0:00:35.36,Default,,0000,0000,0000,,it's always about being free.
Dialogue: 0,0:00:42.40,0:00:44.76,Default,,0000,0000,0000,,We're making a series\Nof 58 drawings
Dialogue: 0,0:00:44.76,0:00:48.16,Default,,0000,0000,0000,,for this art fair in Sao Paulo.
Dialogue: 0,0:00:48.16,0:00:50.14,Default,,0000,0000,0000,,So this was my proposal email.
Dialogue: 0,0:00:52.04,0:00:55.68,Default,,0000,0000,0000,,Me and Christophe are making\Ncyclops trannies portraits.
Dialogue: 0,0:00:55.68,0:00:58.25,Default,,0000,0000,0000,,Trannies–\Ntransvestites– portraits.
Dialogue: 0,0:00:59.72,0:01:00.60,Default,,0000,0000,0000,,[ CHRISTOPHE HAMAIDE-PIERSON ] \NWe had the concept,
Dialogue: 0,0:01:00.60,0:01:04.00,Default,,0000,0000,0000,,"Okay, let's make all these\Nportrait of cyclop trannies."
Dialogue: 0,0:01:04.00,0:01:05.51,Default,,0000,0000,0000,,We had to work separately.
Dialogue: 0,0:01:06.76,0:01:09.36,Default,,0000,0000,0000,,One of these few project\Nwhere, actually,
Dialogue: 0,0:01:09.36,0:01:11.14,Default,,0000,0000,0000,,I did 20-something drawings,
Dialogue: 0,0:01:11.14,0:01:14.12,Default,,0000,0000,0000,,and he did, like, 20 other,\Nlike, something drawing.
Dialogue: 0,0:01:14.12,0:01:16.16,Default,,0000,0000,0000,,and then they were all, like,\Nframed together
Dialogue: 0,0:01:16.16,0:01:17.62,Default,,0000,0000,0000,,and displayed on the wall.
Dialogue: 0,0:01:19.04,0:01:21.80,Default,,0000,0000,0000,,I always like this thing\Nof leaving your ego behind
Dialogue: 0,0:01:21.80,0:01:23.34,Default,,0000,0000,0000,,and merge with other people.
Dialogue: 0,0:01:23.34,0:01:25.52,Default,,0000,0000,0000,,I think that's something\Nquite magical.
Dialogue: 0,0:01:25.52,0:01:27.52,Default,,0000,0000,0000,,I love this idea\Nof collaboration.
Dialogue: 0,0:01:30.52,0:01:34.32,Default,,0000,0000,0000,,In 2005, we were invited\Nto be part of this big show
Dialogue: 0,0:01:34.32,0:01:36.25,Default,,0000,0000,0000,,for the L.A. MOCA.
Dialogue: 0,0:01:36.84,0:01:40.89,Default,,0000,0000,0000,,This is the first ever project\Nthat we did together, full-on.
Dialogue: 0,0:01:41.72,0:01:43.40,Default,,0000,0000,0000,,We conceive everything together,
Dialogue: 0,0:01:43.40,0:01:46.86,Default,,0000,0000,0000,,so that was always driven\Nby this collaborative dynamic.
Dialogue: 0,0:01:50.47,0:01:51.64,Default,,0000,0000,0000,,We spent three months\Nin L.A.,
Dialogue: 0,0:01:51.64,0:01:53.68,Default,,0000,0000,0000,,and it was also during\Nthe Bush administration
Dialogue: 0,0:01:53.68,0:01:56.84,Default,,0000,0000,0000,,and there was all these thing\Ngoing on with Scientology.
Dialogue: 0,0:01:56.84,0:02:00.49,Default,,0000,0000,0000,,And so we decided to connect\Nall this different information
Dialogue: 0,0:02:01.12,0:02:03.44,Default,,0000,0000,0000,,for that installation.
Dialogue: 0,0:02:06.88,0:02:11.96,Default,,0000,0000,0000,,We decided to turn\Nall of the museum into a disco
Dialogue: 0,0:02:11.96,0:02:15.80,Default,,0000,0000,0000,,and wanted the disco to actually\Nfunction as a nightclub
Dialogue: 0,0:02:15.80,0:02:17.50,Default,,0000,0000,0000,,during the course of the show.
Dialogue: 0,0:02:18.27,0:02:20.08,Default,,0000,0000,0000,,[ ELI SUDBRACK ]\NThis disco was an homage
Dialogue: 0,0:02:20.08,0:02:23.96,Default,,0000,0000,0000,,to the birth of gay rights\Nin America,
Dialogue: 0,0:02:23.96,0:02:26.48,Default,,0000,0000,0000,,which, a lot of it happened\Nin the disco space,
Dialogue: 0,0:02:26.48,0:02:29.48,Default,,0000,0000,0000,,like this communion, you know,\Nof people of the same sex,
Dialogue: 0,0:02:29.48,0:02:33.20,Default,,0000,0000,0000,,and, like, quite often,\Nvery hedonistic,
Dialogue: 0,0:02:33.20,0:02:36.08,Default,,0000,0000,0000,,but also, there was a lot\Nof politics happening
Dialogue: 0,0:02:36.08,0:02:37.24,Default,,0000,0000,0000,,at that–\Nin that environment.
Dialogue: 0,0:02:37.24,0:02:37.96,Default,,0000,0000,0000,,That was the first time
Dialogue: 0,0:02:37.96,0:02:41.32,Default,,0000,0000,0000,,we actually worked\Nwith this tranny symbol.
Dialogue: 0,0:02:41.32,0:02:42.96,Default,,0000,0000,0000,,We want to turn everybody\Ninto trannies,
Dialogue: 0,0:02:42.96,0:02:44.36,Default,,0000,0000,0000,,so we gave out \Nthe tranny masks
Dialogue: 0,0:02:44.36,0:02:46.52,Default,,0000,0000,0000,,with these pictures\Nthat another friend of ours took
Dialogue: 0,0:02:46.52,0:02:48.88,Default,,0000,0000,0000,,of these trannies from Paris.
Dialogue: 0,0:02:48.88,0:02:51.72,Default,,0000,0000,0000,,These masks–they have\Nthis special lenses
Dialogue: 0,0:02:51.72,0:02:54.44,Default,,0000,0000,0000,,that multiply the amount\Nof light spots.
Dialogue: 0,0:02:54.44,0:02:55.72,Default,,0000,0000,0000,,People were fascinated,
Dialogue: 0,0:02:55.72,0:02:57.60,Default,,0000,0000,0000,,because once they put\Nthe mask on,
Dialogue: 0,0:02:57.60,0:03:00.00,Default,,0000,0000,0000,,they would see all these\Ndifferent colors
Dialogue: 0,0:03:00.00,0:03:02.36,Default,,0000,0000,0000,,and different shapes.
Dialogue: 0,0:03:18.68,0:03:21.52,Default,,0000,0000,0000,,[indistinct conversations]
Dialogue: 0,0:03:21.52,0:03:23.25,Default,,0000,0000,0000,,- Remember I was doing,\Nlike, the thing with–
Dialogue: 0,0:03:24.04,0:03:27.78,Default,,0000,0000,0000,,pumping the ink from the thing? \N- Yeah, yeah.
Dialogue: 0,0:03:27.78,0:03:29.66,Default,,0000,0000,0000,,- That's what this was.
Dialogue: 0,0:03:29.66,0:03:32.24,Default,,0000,0000,0000,,- Oh.\N- That's where that came.
Dialogue: 0,0:03:36.68,0:03:37.42,Default,,0000,0000,0000,,Can you tell which ones\Nare mine
Dialogue: 0,0:03:37.42,0:03:38.63,Default,,0000,0000,0000,,and which ones\Nare Christophe's?
Dialogue: 0,0:03:38.63,0:03:39.92,Default,,0000,0000,0000,,- Um...\N- I think it's a bit obvious.
Dialogue: 0,0:03:39.92,0:03:40.78,Default,,0000,0000,0000,,But I'm not sure people--
Dialogue: 0,0:03:40.78,0:03:42.36,Default,,0000,0000,0000,,- This is Christophe.\N- Yeah.
Dialogue: 0,0:03:45.37,0:03:47.51,Default,,0000,0000,0000,,- This is you.\N- Yeah.
Dialogue: 0,0:03:47.51,0:03:49.76,Default,,0000,0000,0000,,- Christophe, Christophe...\N- Yeah.
Dialogue: 0,0:03:49.76,0:03:52.24,Default,,0000,0000,0000,,- Christophe. You?
Dialogue: 0,0:03:52.24,0:03:53.84,Default,,0000,0000,0000,,- Yeah.
Dialogue: 0,0:03:53.84,0:03:55.52,Default,,0000,0000,0000,,The thing is, I--\N- You're more...
Dialogue: 0,0:03:55.52,0:03:56.76,Default,,0000,0000,0000,,- Yeah, I'm more...
Dialogue: 0,0:03:56.76,0:03:58.56,Default,,0000,0000,0000,,- Intricate.\N- Intricate.
Dialogue: 0,0:03:58.56,0:04:00.08,Default,,0000,0000,0000,,This one is in the catalog.
Dialogue: 0,0:04:00.08,0:04:02.47,Default,,0000,0000,0000,,Actually, this was\Nthe very first one I made.
Dialogue: 0,0:04:02.47,0:04:03.36,Default,,0000,0000,0000,,- Oh, yeah?\N- Now I remember.
Dialogue: 0,0:04:03.36,0:04:06.28,Default,,0000,0000,0000,,This was the very first one,\Nthe one I made here.
Dialogue: 0,0:04:06.28,0:04:07.00,Default,,0000,0000,0000,,And then...
Dialogue: 0,0:04:07.00,0:04:08.32,Default,,0000,0000,0000,,[ ELI SUDBRACK ] \NWhen I was three years old,
Dialogue: 0,0:04:08.32,0:04:10.12,Default,,0000,0000,0000,,I was fascinated\Nby this magazine
Dialogue: 0,0:04:10.12,0:04:11.96,Default,,0000,0000,0000,,which was called Disneylandia,
Dialogue: 0,0:04:11.96,0:04:13.80,Default,,0000,0000,0000,,which is "Disneyland"\Nin Portuguese.
Dialogue: 0,0:04:13.80,0:04:15.04,Default,,0000,0000,0000,,My mother would read it for me,
Dialogue: 0,0:04:15.04,0:04:17.12,Default,,0000,0000,0000,,it would be gone\Nin five minutes,
Dialogue: 0,0:04:17.12,0:04:18.83,Default,,0000,0000,0000,,and I would get\Nreally frustrated.
Dialogue: 0,0:04:19.64,0:04:21.16,Default,,0000,0000,0000,,And then my father taught me
Dialogue: 0,0:04:21.16,0:04:25.00,Default,,0000,0000,0000,,to cut the characters\Nout of the magazine,
Dialogue: 0,0:04:25.00,0:04:28.24,Default,,0000,0000,0000,,put them on cardboard,\Nand I could make my own stories.
Dialogue: 0,0:04:28.24,0:04:30.44,Default,,0000,0000,0000,,And that evolved along the years
Dialogue: 0,0:04:30.44,0:04:33.44,Default,,0000,0000,0000,,to Marvel superheroes,\Nespecially the X-men.
Dialogue: 0,0:04:33.44,0:04:36.72,Default,,0000,0000,0000,,So I would cut the little\Ncharacters out of the magazine
Dialogue: 0,0:04:36.72,0:04:39.48,Default,,0000,0000,0000,,and the power rays\Nor the architecture.
Dialogue: 0,0:04:39.48,0:04:42.40,Default,,0000,0000,0000,,And I had a board,\Nand I would lay on my bed
Dialogue: 0,0:04:42.40,0:04:44.75,Default,,0000,0000,0000,,and start playing with them\Nand create my own stories.
Dialogue: 0,0:04:44.76,0:04:47.40,Default,,0000,0000,0000,,[indistinct dialogue]
Dialogue: 0,0:04:47.40,0:04:49.32,Default,,0000,0000,0000,,I think it's a lot\Nrelated to the wallpaper.
Dialogue: 0,0:04:49.32,0:04:52.32,Default,,0000,0000,0000,,It's the same sort\Nof flat-surface approach
Dialogue: 0,0:04:52.32,0:04:53.70,Default,,0000,0000,0000,,to the imagery.
Dialogue: 0,0:04:54.36,0:04:57.26,Default,,0000,0000,0000,,My father was really\Nmy creative connection.
Dialogue: 0,0:04:59.08,0:05:01.88,Default,,0000,0000,0000,,When I was born,\Nhe was already 60 years old.
Dialogue: 0,0:05:01.88,0:05:03.20,Default,,0000,0000,0000,,He was very social,
Dialogue: 0,0:05:03.20,0:05:05.94,Default,,0000,0000,0000,,but my memory of him is this guy\Nwho's always at home.
Dialogue: 0,0:05:06.92,0:05:08.92,Default,,0000,0000,0000,,My father was a general\Nfrom the army.
Dialogue: 0,0:05:08.92,0:05:12.48,Default,,0000,0000,0000,,He was not in favor\Nof the military dictatorship.
Dialogue: 0,0:05:12.48,0:05:14.01,Default,,0000,0000,0000,,He was forced to resign.
Dialogue: 0,0:05:15.08,0:05:19.03,Default,,0000,0000,0000,,He was also a literature critic\Nand a poet
Dialogue: 0,0:05:19.03,0:05:21.08,Default,,0000,0000,0000,,besides being a dentist.
Dialogue: 0,0:05:22.48,0:05:24.00,Default,,0000,0000,0000,,He would constantly tell me,
Dialogue: 0,0:05:24.00,0:05:25.92,Default,,0000,0000,0000,,"Oh, my god, you have to do\Nsomething with color.
Dialogue: 0,0:05:25.92,0:05:27.56,Default,,0000,0000,0000,,you're such a colorist."
Dialogue: 0,0:05:27.56,0:05:29.08,Default,,0000,0000,0000,,My mother was, like,\Nquite the opposite.
Dialogue: 0,0:05:29.08,0:05:33.26,Default,,0000,0000,0000,,Super-conservative, but she\Ndidn't have much education.
Dialogue: 0,0:05:34.88,0:05:37.44,Default,,0000,0000,0000,,My father had been rewriting\Nhis last book forever.
Dialogue: 0,0:05:37.44,0:05:39.84,Default,,0000,0000,0000,,He would be typing\Nlittle pieces, different words,
Dialogue: 0,0:05:39.84,0:05:43.08,Default,,0000,0000,0000,,and pasting those words\Non top of the old words.
Dialogue: 0,0:05:43.08,0:05:45.60,Default,,0000,0000,0000,,His last book is a whole collage
Dialogue: 0,0:05:45.60,0:05:47.98,Default,,0000,0000,0000,,of different words\Nthat he'd keep replacing.
Dialogue: 0,0:05:49.29,0:05:52.30,Default,,0000,0000,0000,,[indistinct conversation]
Dialogue: 0,0:05:53.02,0:05:55.78,Default,,0000,0000,0000,,He spent a whole year in '68–
Dialogue: 0,0:05:55.80,0:05:58.00,Default,,0000,0000,0000,,the year I was born,\Nwhich was the year
Dialogue: 0,0:05:58.00,0:06:01.43,Default,,0000,0000,0000,,that the dictatorship\Ngot more oppressive—at home.
Dialogue: 0,0:06:02.92,0:06:05.72,Default,,0000,0000,0000,,A lot of what I do nowadays\Nis due to him.
Dialogue: 0,0:06:06.66,0:06:08.36,Default,,0000,0000,0000,,And to my mother too,\Nboth of them.
Dialogue: 0,0:06:08.36,0:06:10.83,Default,,0000,0000,0000,,It was a very good combination,\Nin fact.
Dialogue: 0,0:06:12.83,0:06:21.97,Default,,0000,0000,0000,,[alarm beeping]
Dialogue: 0,0:06:21.97,0:06:25.92,Default,,0000,0000,0000,,[motor whirring]
Dialogue: 0,0:06:25.92,0:06:30.54,Default,,0000,0000,0000,,This was the very first drawing\NI made for the show at Deitch.
Dialogue: 0,0:06:32.40,0:06:36.00,Default,,0000,0000,0000,,The core concept of that show\Nwas demolition.
Dialogue: 0,0:06:37.60,0:06:40.84,Default,,0000,0000,0000,,We were looking at a few\Ndifferent demolition sources
Dialogue: 0,0:06:40.84,0:06:44.84,Default,,0000,0000,0000,,related to demolishing the city,\Nbecause at that point,
Dialogue: 0,0:06:44.84,0:06:48.04,Default,,0000,0000,0000,,a lot of the Long Island City\Nand the Brooklyn neighborhoods
Dialogue: 0,0:06:48.04,0:06:49.12,Default,,0000,0000,0000,,were being demolished
Dialogue: 0,0:06:49.12,0:06:51.72,Default,,0000,0000,0000,,to give birth\Nto these big high-rises.
Dialogue: 0,0:06:52.68,0:06:53.20,Default,,0000,0000,0000,,Me and Christophe,
Dialogue: 0,0:06:53.20,0:06:56.24,Default,,0000,0000,0000,,we were interested\Nin the demolition sites,
Dialogue: 0,0:06:56.24,0:06:58.04,Default,,0000,0000,0000,,and we were actually making\Na lot of installations
Dialogue: 0,0:06:58.04,0:07:00.00,Default,,0000,0000,0000,,which replicated that imagery.
Dialogue: 0,0:07:01.96,0:07:04.36,Default,,0000,0000,0000,,These are sketches\Nfrom that show,
Dialogue: 0,0:07:04.36,0:07:05.16,Default,,0000,0000,0000,,and a lot of these things
Dialogue: 0,0:07:05.16,0:07:07.64,Default,,0000,0000,0000,,are actually things that\Nwe'd never end up producing,
Dialogue: 0,0:07:07.64,0:07:08.76,Default,,0000,0000,0000,,Like this.
Dialogue: 0,0:07:08.76,0:07:10.04,Default,,0000,0000,0000,,This was the DJ booth
Dialogue: 0,0:07:10.04,0:07:14.32,Default,,0000,0000,0000,,made of all the trashed wood\Nwith plastic ribbons.
Dialogue: 0,0:07:15.04,0:07:18.47,Default,,0000,0000,0000,,This was supposed to be a space\Nthat you go in.
Dialogue: 0,0:07:19.00,0:07:21.96,Default,,0000,0000,0000,,There's, like, a staircase here,\Nand it had a little door.
Dialogue: 0,0:07:22.92,0:07:24.52,Default,,0000,0000,0000,,and it had– this is a sausage,
Dialogue: 0,0:07:24.52,0:07:26.16,Default,,0000,0000,0000,,and these are french fries\Nover here.
Dialogue: 0,0:07:27.28,0:07:28.22,Default,,0000,0000,0000,,I don't remember, like,
Dialogue: 0,0:07:28.22,0:07:31.08,Default,,0000,0000,0000,,why we came up with this\Nfrench fries and sausage thing.
Dialogue: 0,0:07:31.08,0:07:33.78,Default,,0000,0000,0000,,It was–I was sort of obsessed\Nabout that at one point.
Dialogue: 0,0:07:34.96,0:07:36.72,Default,,0000,0000,0000,,Everything had a look\Nof construction,
Dialogue: 0,0:07:36.72,0:07:39.00,Default,,0000,0000,0000,,so there's, like, a tarp–\NLike, a blue tarp–
Dialogue: 0,0:07:39.00,0:07:41.80,Default,,0000,0000,0000,,on top of the trash wood\Nstructure here.
Dialogue: 0,0:07:41.80,0:07:45.12,Default,,0000,0000,0000,,So we create sort of, like,\Na shanty house structure.
Dialogue: 0,0:07:45.12,0:07:46.84,Default,,0000,0000,0000,,We created this neon box.
Dialogue: 0,0:07:46.84,0:07:47.92,Default,,0000,0000,0000,,it was like a hole,
Dialogue: 0,0:07:47.92,0:07:49.60,Default,,0000,0000,0000,,and you would put\Nyour head through
Dialogue: 0,0:07:49.60,0:07:53.28,Default,,0000,0000,0000,,and then you would see\Nyour face reflected.
Dialogue: 0,0:07:53.28,0:07:56.04,Default,,0000,0000,0000,,You had all these neons\Naround your face.
Dialogue: 0,0:07:56.04,0:07:57.40,Default,,0000,0000,0000,,It was like a one-way mirror.
Dialogue: 0,0:07:57.40,0:07:58.84,Default,,0000,0000,0000,,From outside,\Nit was actually transparent,
Dialogue: 0,0:07:58.84,0:08:00.48,Default,,0000,0000,0000,,so you would see this\Nperson's face
Dialogue: 0,0:08:00.48,0:08:02.75,Default,,0000,0000,0000,,with all these neons around,\Nflickering and stuff.
Dialogue: 0,0:08:04.24,0:08:06.52,Default,,0000,0000,0000,,This is a zine that we made\Nfor that show.
Dialogue: 0,0:08:06.52,0:08:07.16,Default,,0000,0000,0000,,And this was, like–
Dialogue: 0,0:08:07.16,0:08:10.16,Default,,0000,0000,0000,,we had, like, 16 different\Npeople working with us.
Dialogue: 0,0:08:10.16,0:08:12.96,Default,,0000,0000,0000,,A lot of our friends from Brazil\Nwere working in the show,
Dialogue: 0,0:08:12.96,0:08:14.08,Default,,0000,0000,0000,,and we were\Ngiving out this zine,
Dialogue: 0,0:08:14.08,0:08:17.21,Default,,0000,0000,0000,,so everybody had one or two\Npages for this collaboration.
Dialogue: 0,0:08:17.56,0:08:19.96,Default,,0000,0000,0000,,There was one facade
Dialogue: 0,0:08:19.96,0:08:22.92,Default,,0000,0000,0000,,that struck\Nboth me and Christophe:
Dialogue: 0,0:08:22.92,0:08:27.37,Default,,0000,0000,0000,,these pink stones and, like,\Ngray plastic shingles.
Dialogue: 0,0:08:28.64,0:08:32.56,Default,,0000,0000,0000,,We spent two months collecting\Nall the trash wood
Dialogue: 0,0:08:32.56,0:08:35.40,Default,,0000,0000,0000,,from all these houses that were\Nbeing demolished in that area
Dialogue: 0,0:08:35.40,0:08:36.90,Default,,0000,0000,0000,,to use in that installation.
Dialogue: 0,0:08:37.43,0:08:40.72,Default,,0000,0000,0000,,At the same time,\Nwe connected with Kenny Scharf.
Dialogue: 0,0:08:40.72,0:08:42.68,Default,,0000,0000,0000,,And then we remembered\Nnuke bombs–
Dialogue: 0,0:08:42.68,0:08:45.08,Default,,0000,0000,0000,,paintings he used to make\Nin the '80s–
Dialogue: 0,0:08:45.08,0:08:46.04,Default,,0000,0000,0000,,and then I said,
Dialogue: 0,0:08:46.04,0:08:49.67,Default,,0000,0000,0000,,"What if we turn one\Nof his nuke bombs into a neon?"
Dialogue: 0,0:08:52.08,0:08:54.72,Default,,0000,0000,0000,,This place was\Nright on the water,
Dialogue: 0,0:08:54.72,0:08:58.28,Default,,0000,0000,0000,,and it had this most\Nidyllic view of Manhattan
Dialogue: 0,0:08:58.28,0:08:59.62,Default,,0000,0000,0000,,right in front of you.
Dialogue: 0,0:08:59.62,0:09:01.64,Default,,0000,0000,0000,,I said,\N"Let's nuke Manhattan."
Dialogue: 0,0:09:01.64,0:09:05.36,Default,,0000,0000,0000,,"Let's put the bomb\Nright in front of the skyline."
Dialogue: 0,0:09:06.28,0:09:08.84,Default,,0000,0000,0000,,"The history of the city\Nis being demolished."
Dialogue: 0,0:09:08.84,0:09:13.00,Default,,0000,0000,0000,,"Let's point that out,\Nand then let's point out
Dialogue: 0,0:09:13.00,0:09:15.57,Default,,0000,0000,0000,,that people should also make\Ntheir own history in the city."
Dialogue: 0,0:09:16.73,0:09:19.44,Default,,0000,0000,0000,,Related to that,\Nwe brought another subject
Dialogue: 0,0:09:19.44,0:09:21.52,Default,,0000,0000,0000,,which we were working on\Nfor a while,
Dialogue: 0,0:09:21.52,0:09:25.24,Default,,0000,0000,0000,,which is the tranny,\Nthe transgender image,
Dialogue: 0,0:09:25.24,0:09:28.35,Default,,0000,0000,0000,,and we used that as another\Nsymbol of demolition:
Dialogue: 0,0:09:28.48,0:09:31.91,Default,,0000,0000,0000,,demolition of identity,\Na demolition of your own body.
Dialogue: 0,0:09:33.16,0:09:36.80,Default,,0000,0000,0000,,We had this giant doll\Nwith a woman body,
Dialogue: 0,0:09:36.80,0:09:39.92,Default,,0000,0000,0000,,but one side was a man face;\Nother side was a woman face.
Dialogue: 0,0:09:39.92,0:09:42.04,Default,,0000,0000,0000,,We wanted to reuse that doll
Dialogue: 0,0:09:42.04,0:09:44.96,Default,,0000,0000,0000,,and to somehow\Ndemolish her as well,
Dialogue: 0,0:09:44.96,0:09:46.36,Default,,0000,0000,0000,,because that's something\Nfrom the past
Dialogue: 0,0:09:46.36,0:09:49.00,Default,,0000,0000,0000,,that we wanted to connect\Nthis demolition idea–
Dialogue: 0,0:09:49.00,0:09:50.80,Default,,0000,0000,0000,,we wanted to demolish\Nour own work.
Dialogue: 0,0:09:50.80,0:09:52.68,Default,,0000,0000,0000,,So we broke her apart,
Dialogue: 0,0:09:52.68,0:09:57.92,Default,,0000,0000,0000,,as if the Brooklyn facade\Nhad just popped right onto her.
Dialogue: 0,0:09:58.77,0:10:00.84,Default,,0000,0000,0000,,I can never remember\Nwhich witch is the one
Dialogue: 0,0:10:00.84,0:10:03.64,Default,,0000,0000,0000,,that is dead in the beginning\Nof Wizard of Oz,
Dialogue: 0,0:10:03.64,0:10:05.92,Default,,0000,0000,0000,,which you just see the shoes.
Dialogue: 0,0:10:05.92,0:10:07.37,Default,,0000,0000,0000,,The west, the east--\NI don't know.
Dialogue: 0,0:10:11.20,0:10:15.36,Default,,0000,0000,0000,,A lot of what we make\Nstarts by writing
Dialogue: 0,0:10:15.36,0:10:19.60,Default,,0000,0000,0000,,or ideas or words or lists\Nof things I need to do,
Dialogue: 0,0:10:19.60,0:10:22.02,Default,,0000,0000,0000,,and it's like creating\Na universe, somehow.
Dialogue: 0,0:10:25.20,0:10:27.44,Default,,0000,0000,0000,,Working together, it's very–
Dialogue: 0,0:10:28.16,0:10:34.40,Default,,0000,0000,0000,,it's lonely, because I'm–\Nwhat happens that, you know,
Dialogue: 0,0:10:34.40,0:10:36.20,Default,,0000,0000,0000,,I'm at my studio in New York,
Dialogue: 0,0:10:36.20,0:10:38.76,Default,,0000,0000,0000,,and Christophe is in his studio\Nin Paris.
Dialogue: 0,0:10:38.76,0:10:40.52,Default,,0000,0000,0000,,and then we exchange emails.
Dialogue: 0,0:10:40.52,0:10:43.84,Default,,0000,0000,0000,,I have an idea for a show,\Nand I write–
Dialogue: 0,0:10:43.84,0:10:46.52,Default,,0000,0000,0000,,I describe this idea\Nin the email.
Dialogue: 0,0:10:46.52,0:10:47.96,Default,,0000,0000,0000,,And then he writes back to me,
Dialogue: 0,0:10:47.96,0:10:50.00,Default,,0000,0000,0000,,and then he gives me\Nhis thoughts about it
Dialogue: 0,0:10:50.00,0:10:51.92,Default,,0000,0000,0000,,and I give my thoughts\Nabout his thoughts.
Dialogue: 0,0:10:51.92,0:10:53.88,Default,,0000,0000,0000,,So we're always, like,\Nkind of exchanging emails
Dialogue: 0,0:10:53.88,0:10:59.01,Default,,0000,0000,0000,,about each other's vision\Nor ideas for a certain show.
Dialogue: 0,0:10:59.13,0:11:01.70,Default,,0000,0000,0000,,[percussive rhythm]
Dialogue: 0,0:11:01.85,0:11:03.04,Default,,0000,0000,0000,,[ CHRISTOPHE HAMAIDE-PIERSON ]\NWe were, in some ways,
Dialogue: 0,0:11:03.04,0:11:04.16,Default,,0000,0000,0000,,meant to work together.
Dialogue: 0,0:11:04.16,0:11:07.72,Default,,0000,0000,0000,,I think we have, like, the same\Nsort of view on life, on art.
Dialogue: 0,0:11:08.36,0:11:13.12,Default,,0000,0000,0000,,Eli is one person;\NI'm somebody else. [laughs]
Dialogue: 0,0:11:13.12,0:11:14.88,Default,,0000,0000,0000,,And we have our own differences,
Dialogue: 0,0:11:14.88,0:11:17.52,Default,,0000,0000,0000,,and I guess that's the great\Nthing about collaboration, also,
Dialogue: 0,0:11:17.52,0:11:20.12,Default,,0000,0000,0000,,is to have those\Ntwo differences connect.
Dialogue: 0,0:11:21.12,0:11:24.22,Default,,0000,0000,0000,,[indistinct conversations]
Dialogue: 0,0:11:24.22,0:11:25.76,Default,,0000,0000,0000,,[ ELI SUDBRACK ]\NI think there's a strategy
Dialogue: 0,0:11:25.76,0:11:27.68,Default,,0000,0000,0000,,in what we make,
Dialogue: 0,0:11:27.68,0:11:30.04,Default,,0000,0000,0000,,which is for everything\Nto become one.
Dialogue: 0,0:11:30.04,0:11:32.71,Default,,0000,0000,0000,,the viewer become one\Nwith the installation.
Dialogue: 0,0:11:35.75,0:11:37.44,Default,,0000,0000,0000,,The core of what we make,
Dialogue: 0,0:11:37.44,0:11:40.20,Default,,0000,0000,0000,,it's not object;\Nit's energy.
Dialogue: 0,0:11:40.20,0:11:42.36,Default,,0000,0000,0000,,You know, we create this energy,
Dialogue: 0,0:11:42.36,0:11:44.04,Default,,0000,0000,0000,,and then this energy,\Nit's there.
Dialogue: 0,0:11:44.04,0:11:46.44,Default,,0000,0000,0000,,It happens in one moment,\Nand then it's gone.
Dialogue: 0,0:11:46.44,0:11:49.18,Default,,0000,0000,0000,,You can't save that energy.\NYou can't sell that energy.
Dialogue: 0,0:11:49.88,0:11:52.55,Default,,0000,0000,0000,,You can share that energy\Nin that moment.
Dialogue: 0,0:11:53.08,0:11:56.94,Default,,0000,0000,0000,,But you can't really take it\Nsomewhere else.
Dialogue: 0,0:12:21.62,0:12:24.91,Default,,0000,0000,0000,,[ ANNOUNCER ] To learn more about \N"Art in the Twenty-First Century"
Dialogue: 0,0:12:24.91,0:12:27.08,Default,,0000,0000,0000,,and its educational resources,
Dialogue: 0,0:12:27.08,0:12:32.04,Default,,0000,0000,0000,,please visit us online at: \NPBS.org/Art21
Dialogue: 0,0:12:35.13,0:12:38.35,Default,,0000,0000,0000,,“Art in the Twenty-First Century” is available on DVD.
Dialogue: 0,0:12:39.24,0:12:41.80,Default,,0000,0000,0000,,The companion book is also available.
Dialogue: 0,0:12:41.80,0:12:45.74,Default,,0000,0000,0000,,To order, visit us online at: shopPBS.org
Dialogue: 0,0:12:45.74,0:12:50.21,Default,,0000,0000,0000,,or call PBS Home Video at: \N1-800-PLAY-PBS