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- (Hank) Esto es lindo. 
- (Rujeko) Ajá.

2
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¿Son todas estas fotografías de tu abuelo?

3
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Si. De hecho, no las he visto.

4
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Es increíble abrir una caja
y encontrar estas cosas.

5
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Esta...

6
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Esta es una de las mis primeras sesiones.

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(Rujeko) Guau.

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(Hank) Estas son fotos 
de los archivos de mi mamá.

9
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Esta foto la he usado mucho en mi trabajo.

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Ajá.

11
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(Hank) Los están bautizando.

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- (Hank) Ves esto cuernos...
- (Rujeko) Ajá.

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(Hank) Esta mujer... Esto es tan poderoso.

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[Rujeko] Así es.

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Las dos cosas que recuerdo que me decían
cuando tenía tres o cuatro años son:

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"Haces demasiadas preguntas" 
y "No debes quedarte mirando a la gente".

17
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♪(música animada)♪

18
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Gran parte de mi trabajo
es un combinación de ambas.

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La fotografía
era una razón para quedarse mirando.

20
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♪(música se intensifica)♪

21
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Mi trabajo se enfoca
en el encuadre y el contexto,

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y en cómo la posición en la que estés

23
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puede darle forma 
a tu perspectiva de la verdad,

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de la realidad y de lo que importa.

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♪(música animada continúa)♪

26
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Además de la fotografía,
debo trabajar con diferentes técnicas.

27
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♪(música animada continúa)♪

28
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Tengo que buscar 
diferentes maneras de mirar algo

29
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que podemos llegar a pensar
que ya hemos visto mil veces.

30
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♪(música animada)♪

31
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Estaba leyendo el libro de Roland Barthes 
titulado "La cámara lúcida",

32
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en el que habla del punctum.

33
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Él ve al punctum 
como algo que te atraviesa,

34
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algo de la fotografía
que permanece en ti.

35
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Cuando miro esta fotografía
de un jugador de los Harlem Globetrotter

36
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parado frente a la Estatua de la Libertad,

37
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el punctum para mí es el brazo.

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♪(música animada)♪

39
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Me gusta buscar el equilibrio
entre el espectáculo de lo deportivo

40
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y el contexto histórico y político.

41
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Durante mi investigación,
el libro emblemático de Ernest Cole

42
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"House of Bondage".

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Él fue un fotógrafo negro
que viajó por Sudáfrica

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y documentó los horrores del "apartheid".

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y, luego, sacó las imágenes del país
de forma ilegal.

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♪(música animada)♪

47
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Una imagen en particular
de una fila de mineros desnudos

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con los brazos levantados
siendo revisados

49
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realmente me impactó.

50
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Ya la había visto muchas veces,
pero, viéndola con ojo crítico,

51
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me di cuenta de que, a menudo,
me daba culpa ver esto

52
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porque siempre 
miraba embobado sus cuerpos.

53
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Hacerlo reafirmaba la opresión.

54
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♪(música animada)♪

55
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Quería reversionar esa imagen
en forma de escultura,

56
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y la titulé "Manos arriba".

57
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Quiero que los espectadores 
puedan caminar,

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levantar la vista y observar

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para que intenten mirar a estos hombres
con dignidad.

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♪(música animada)♪

61
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Unos seis meses después
de haber hecho la escultura,

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al otro lado del mundo,
en Ferguson, Misuri,

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la frase "Manos arriba, no disparen"
se hizo conocida

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tras el asesinato de Mike Brown.

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(multitud) ¡Manos arriba, no disparen!

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(Hank) Cuando por fin exhibí la obra
en los Estados Unidos,

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la gente la llamó 
"Manos arriba, no disparen".

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♪(música animada)♪

69
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Veo una conexión en todo.

70
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Si estoy haciendo una obra
sobre mineros del carbón

71
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o Ferguson o baloncesto,

72
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muchos de los cuerpos están conectados
por esta historia de opresión.

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(Hank) Acércalo 
y podrás desplazarte por las páginas.

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Ajá.

75
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Me alegra haber realizado un escaneo 3D
de manos reales

76
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en lugar de crear manos
de forma digital.

77
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(Sam) Quiero que veas el dedo.

78
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Utilizan la impresora 3D y, luego,
lo cubren con esta cera

79
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para que pueda adherirse a la cerámica.

80
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Esa misma textura se verá en el bronce.

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- Sí, es una locura.
- (Sam) Sí.

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(Rujeko) Se ven bien.

83
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¿Sabes qué es esa pieza?

84
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No. En realidad, esta es una muestra.

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- (Rujeko) ¿Una muestra de la pátina?
- (Sam) Sí.

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(Hank) Es una locura pensar
cómo rompieron la escultura en 650 partes.

87
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(Will) Sí.

88
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Y cuántas personas trabajan en esta.

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(Sam) Todos están participando
de la fundición.

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(Rujeko) Genial.

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