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[Hiwa K: "The Bell Project"]

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[SOUND OF BELL RINGING]

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I don't like expensive artworks.

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Instead of spending eighty thousand Euros,

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you can maintain many families in[br]Iraq or Africa

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or other countries.

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I didn't have a good conscience to[br]spend so much money on "The Bell Project".

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[VIDEO VOICE OVER IN KURDISH]

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--These are all from the U.S.[br]They are parts of cabins and jeeps etc. ...

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--These are parts of their cars.

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--These are pipes from their cabines.

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--This one is armor of the U.S. military cars.

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--Those ones too.

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--That pile is all from U.S. military as well.

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--Weapons from most of the countries [br]come here.

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--They all come back to me.

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I was working with somebody.

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He's called Nazhad,

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an entrepreneur from Iraq[br]who's melting weapons.

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He has contracts with the American army.

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He's collecting all kinds of weapons.

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He melts them and he makes bricks.

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He classified them.

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Categorized them.

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Where they come from.

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When they were sold to Iraq.

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By which country.

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[VIDEO VOICE OVER IN KURDISH][br]--Moreover there are more than 40 countries[br]that sold weapons to Iraq and Iran.

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--As far as I can recall their names.

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--U.S.A.,

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--Italy,

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--Germany,

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--Japan,

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--China...etc.

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--From the developing world as well.

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--Also Turkey.

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--I cannot recall all their names now.

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--Most of them were selling weapons[br]to Iraq and Iran at the same time.

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These weapons are made by the West

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and sent to our countries.

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Nazhad is somehow melting it into[br]possibilities of transformation.

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[VIDEO VOICE OVER IN ITALIAN][br]--This is the material from Nazhad.

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--Now we will analyze it in the laboratory

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--to determine the percentage of impurity,[br]and to verify whether or not it is radioactive

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--because it arrives from a country[br]in war and you never know.

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--Everything seems to be here, 300kg,[br]exactly what we need to make the bell.

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In Europe, they always used to melt bells[br]into weapons.

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Many, many thousands of bells were melted[br]into weapons.

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So I was just thinking about the circulation[br]of materials,

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and how one could swap this process

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and do it the other way around--

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to make a bell out of it again.

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So this bell is very simple.

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The work is very accessible.

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And that's what I like.

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If I like this project,

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if I accept it,

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that's the only reason.

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As artists, we are always addressing ourselves,

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or we are addressing this difficult language

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which was not accessible for normal people.

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And that's our problem in art, I say.

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I ask many people, they say,

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"I'm sorry, we don't like to go to museums,[br]to exhibitions."

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I never go to exhibitions or to museums either,

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because also it's too much for me,[br]this kind of art.

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It's too difficult for me.

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That's why I say I have an affair with knowledge,

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I don't have a relationship with knowledge.

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Because I don't want to overdose my work [br]with philosophy.

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Each one or two years I go home,

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I make a small presentation to my family with[br]my new works.

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When my mom understands, I am happy.

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I know that, people who understand.

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And that's why I like the simplicity.

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I think I need that.