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ハンク：素晴らしい

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ルジコ：ええ

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そのネガは全部お爺さんのもの？

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ハンク：そう
実際見たのは初めてだよ

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箱を開けてみたらこんなものが見つかるなんて

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こんなに素晴らしいものが

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これは僕が写ってる初めての写真だ

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ルジコ：わお

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ハンク：これは母親が持っていた写真

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これは僕の作品で何度も使わせてもらった

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ルジコ：へえ

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ハンク：プールで洗礼を受けているところ

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ホーンが見える

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ルジコ：ええ

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ハンク：ここに女の人がいて

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素晴らしいよ

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ルジコ：ほんとうに

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ハンク：３歳か４歳の頃
人によく言われたことを２つ覚えています

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ひとつは
「お前は質問をしすぎる」

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もうひとつは
「そんなに人を見つめてはいけません」

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♪明るい電子音♪

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僕の作品のほとんどは
２つのものの組み合わせでできています

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見つめていたのは写真を撮るためだったんです

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僕の作品は
全てフレーミングとコンテキストについてです

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それから立場によって
どのように真実を捉えるか

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何を重要だとみなすか

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♪♪♪

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写真を撮り続ける中で
色々な素材を用いなければなリませんでした

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♪♪♪

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何千回と見てきたと思ってきたもの

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それを違う方法で見る必要があったんです

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♪電子音のアルペジオ♪

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ロラン・バルトの「明るい部屋」を読んでいて

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パンクタムについて論じている部分がありました

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パンクタムとは心を突き刺すもの
写真の中へとあなたを繋ぎ止めるもの

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それがバルトの見解でした

40
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この自由の女神像の前の
ハーレム・グローブトロッターズの写真の場合

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私にとってのパンクタムは腕です

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♪♪♪

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スポーツの躍動感と

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政治や歴史的背景のバランスがいいんです

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研究の際
アーネスト・コールの代表作

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「ハウス・オブ・ボンデイジ」を読みました

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彼は黒人写真家として南アフリカを旅して

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アパルトヘイトの恐ろしさを記録しました

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そして秘密裏にそれらの写真を国外に持ち出しました

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♪♪♪

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この裸の炭坑夫が手をあげて並ばされている写真に
大きな衝撃を受けました

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何度も見たことのあった写真です

55
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けれど心を研ぎ澄ませて見てみると
罪悪感に苛まれました

56
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それまでこの写真をただ見ていただけだったからです

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このような見方は
抑圧を助長するのと同じです

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♪♪♪

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この写真を立体として作り直したいと思いました

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題は「立ち上がれ」です

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像の周りを動き回り
見上げたり俯瞰したりすることで

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尊敬の念を持った見方をして欲しかったんです

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♪♪♪

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この像を作って丁度半年後

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ミズーリでのマイケル・ブラウン射殺事件で
「両手を挙げたら、撃つな」が拡まっていました

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[群衆が合唱している]
「両手を挙げたら、撃つな！」

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ハンク：やっと米国でこの像が展示された時

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人々は「両手を挙げたら、撃つなの一片」
と名付けました

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♪♪♪

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全ては繋がっているのだと感じています

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だから炭坑夫についてでも
ミズーリでの事件についてでも

76
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バスケットボールについてでも

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はっきり言って
多くの身体が抑圧の歴史に関係しているのです

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