1
00:00:12,904 --> 00:00:15,477
[child yelling]

2
00:00:19,140 --> 00:00:20,140
- We'd like to thank y'all.

3
00:00:20,140 --> 00:00:22,459
You know, I thank y'all
personally, you know,

4
00:00:22,459 --> 00:00:24,000
for coming out.

5
00:00:25,813 --> 00:00:30,678
[applause]

6
00:00:30,678 --> 00:00:31,498
Please.

7
00:00:31,498 --> 00:00:31,998
Please.

8
00:00:31,998 --> 00:00:33,970
Thank you, DJ Baby Dee.

9
00:00:33,970 --> 00:00:34,970
[laughter]

10
00:00:35,650 --> 00:00:38,260
- Say it again.

11
00:00:38,260 --> 00:00:39,260
- DJ Baby Dee..

12
00:00:39,260 --> 00:00:41,130
[laughter]

13
00:00:42,501 --> 00:00:45,190
This day is an exceptional day,

14
00:00:45,190 --> 00:00:47,480
because it's the day
of the opening.

15
00:00:47,480 --> 00:00:50,090
So what counts now
and what is the change

16
00:00:50,090 --> 00:00:52,070
and what is
the most important thing

17
00:00:52,070 --> 00:00:54,430
to me as an artist
is every day–

18
00:00:54,430 --> 00:00:57,460
to be every day here,

19
00:00:57,460 --> 00:01:02,721
every day here to be present
and to produce something.

20
00:01:02,721 --> 00:01:06,000
Why the presence and the
production is so important?

21
00:01:06,000 --> 00:01:08,830
Because I believe
only with the presence

22
00:01:08,830 --> 00:01:10,434
and the production,

23
00:01:10,434 --> 00:01:13,320
we can create the condition

24
00:01:13,320 --> 00:01:17,827
that the residents
are implicated.

25
00:01:17,827 --> 00:01:20,659
So every day we will be here,

26
00:01:20,659 --> 00:01:24,893
and we will be present and
produce the Gramsci Monument.

27
00:01:24,893 --> 00:01:28,689
Because this, what you see,
is not the Gramsci monument.

28
00:01:28,689 --> 00:01:32,371
It's only the structure
of the Gramsci monument.

29
00:01:32,371 --> 00:01:35,229
'Cause what I want to do
is a new kind of monument.

30
00:01:35,229 --> 00:01:37,583
So this new kind of monument,

31
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I have to construct it
every day in being here,

32
00:01:40,590 --> 00:01:42,993
in being present
and in producing

33
00:01:42,993 --> 00:01:46,150
and in addressing it first

34
00:01:46,150 --> 00:01:50,450
to the family who lives
in fifth floor there

35
00:01:50,450 --> 00:01:54,229
or the family who lives there
in first floor

36
00:01:54,229 --> 00:01:57,320
or the woman who lives up there
in the fifth floor.

37
00:01:57,320 --> 00:01:58,500
They are my public.

38
00:01:58,500 --> 00:01:59,500
This is the challenge.

39
00:01:59,500 --> 00:02:03,042
This what's about,
the Gramsci monument:

40
00:02:03,042 --> 00:02:06,509
To create memory,
a common memory.

41
00:02:08,534 --> 00:02:10,700
- Ace, deuce, and no use.

42
00:02:10,700 --> 00:02:11,700
[laughter]

43
00:02:14,251 --> 00:02:16,070
- The three the hard way.

44
00:02:16,070 --> 00:02:16,570
- Yo!

45
00:02:18,255 --> 00:02:19,272
- These are my buddies here.

46
00:02:19,272 --> 00:02:21,107
I could tease 'em all day long.

47
00:02:21,107 --> 00:02:24,120
But they--I know not to get out
of line with 'em neither too,

48
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'cause they'll slap me around

49
00:02:25,120 --> 00:02:27,013
like if I'm one of
their children.

50
00:02:27,013 --> 00:02:29,271
- You wouldn't
have never figured

51
00:02:29,271 --> 00:02:33,928
it would've been like this
when they first started out.

52
00:02:36,939 --> 00:02:43,008
- I believe that every human being
has an understanding of art.

53
00:02:43,008 --> 00:02:49,980
What is separating us is smaller
than what is unifying us.

54
00:02:49,980 --> 00:02:51,822
But in order to unify,

55
00:02:51,822 --> 00:02:54,940
you have really to take
something who goes beyond.

56
00:02:54,940 --> 00:02:57,415
And this is art to me.

57
00:03:00,000 --> 00:03:01,480
What I wanted, actually,

58
00:03:01,480 --> 00:03:06,000
is to establish a new term
of monument.

59
00:03:06,000 --> 00:03:07,550
Why it's new?

60
00:03:07,550 --> 00:03:09,335
Its location.

61
00:03:09,335 --> 00:03:11,000
It is not in a park.

62
00:03:11,000 --> 00:03:12,690
It's not in a city center.

63
00:03:12,690 --> 00:03:14,170
It's where people are living.

64
00:03:14,170 --> 00:03:15,730
Why where people are living?

65
00:03:15,730 --> 00:03:16,980
Because I want to address it

66
00:03:16,980 --> 00:03:20,420
to what I call
a nonexclusive audience.

67
00:03:21,274 --> 00:03:27,778
It is new because its duration
has no ambition of eternity.

68
00:03:27,778 --> 00:03:30,569
It wants to create memory.

69
00:03:30,569 --> 00:03:35,599
Actually, in every artwork,
I would like to establish

70
00:03:35,599 --> 00:03:38,970
a new term of form,
a new term of art.

71
00:03:38,970 --> 00:03:40,981
This is my big ambition,
of course.

72
00:03:43,584 --> 00:03:45,528
- There's a lot of people
came walkin' around,

73
00:03:45,528 --> 00:03:47,354
looking while they was
building it.

74
00:03:47,354 --> 00:03:47,901
- Right.

75
00:03:48,530 --> 00:03:50,423
- And they wasn't sure at all.

76
00:03:51,267 --> 00:03:53,086
- A lot of people call
this place the wood.

77
00:03:53,086 --> 00:03:54,476
- Yeah, the wood.

78
00:03:55,330 --> 00:03:58,479
- What did he call it?

79
00:03:58,479 --> 00:03:59,479
- The little rascals.

80
00:03:59,479 --> 00:04:01,355
- Oh, yeah,
the little rascal clubhouse.

81
00:04:01,355 --> 00:04:01,855
- Yeah, that's what I call it.

82
00:04:01,855 --> 00:04:03,147
- That's the best one.

83
00:04:03,354 --> 00:04:05,720
The one that Phil
had called it, he said,

84
00:04:05,720 --> 00:04:07,942
"Little House on the Prairie
meets the Bronx."

85
00:04:07,942 --> 00:04:08,939
I was like, "That's it.

86
00:04:08,939 --> 00:04:11,090
Michael Landon's
nowhere around."

87
00:04:11,090 --> 00:04:12,654
[laughs]
Yup.

88
00:04:12,654 --> 00:04:16,989
Because I decided to do it
where people are living,

89
00:04:16,989 --> 00:04:21,874
I must find somebody
who agree with my project.

90
00:04:21,874 --> 00:04:25,515
I call it the key figure,
Erik Farmer.

91
00:04:25,694 --> 00:04:29,130
Erik is the president
of forest houses,

92
00:04:29,130 --> 00:04:30,500
the key to the neighborhood.

93
00:04:31,624 --> 00:04:33,509
ERIK FARMER: The first response was,
"What is this?"

94
00:04:33,509 --> 00:04:34,789
Like, "What is this about?"

95
00:04:34,789 --> 00:04:36,370
You know, I don't know anything
about art.

96
00:04:36,370 --> 00:04:37,770
I don't know
who Antonio Gramsci is.

97
00:04:37,770 --> 00:04:40,210
I didn't know
who Thomas Hirschhorn was.

98
00:04:41,064 --> 00:04:42,790
My understanding
of a monument

99
00:04:42,790 --> 00:04:46,300
was something that–
it pretty much doesn't move.

100
00:04:46,300 --> 00:04:48,150
It just– you know,
it stays there.

101
00:04:48,150 --> 00:04:49,800
So I'm like,
"How can it be a monument

102
00:04:49,800 --> 00:04:51,592
but you're saying
you're gonna take it down?"

103
00:04:51,592 --> 00:04:53,729
So he was explaining to me
this is, like, a new concept.

104
00:04:55,774 --> 00:04:57,400
And he actually brought me
some books,

105
00:04:57,400 --> 00:04:59,080
some past work he did.

106
00:04:59,080 --> 00:05:01,340
You know, I read up on him
and all that.

107
00:05:01,744 --> 00:05:06,840
It's a monument,
but it's a temporary monument.

108
00:05:08,278 --> 00:05:10,110
Once he told me that,

109
00:05:10,110 --> 00:05:11,940
I got a understanding
of what he wanted to do.

110
00:05:12,929 --> 00:05:15,740
And I knew
he was into tape before this.

111
00:05:15,740 --> 00:05:17,900
He's, like, a tape freak
or something.

112
00:05:17,900 --> 00:05:19,080
I never– he loves tape.

113
00:05:19,080 --> 00:05:20,930
I never seen nobody
like that before.

114
00:05:20,930 --> 00:05:23,840
And he tells me, you know,
"You can use tape for anything."

115
00:05:23,840 --> 00:05:25,581
How can you use tape
for anything?

116
00:05:25,581 --> 00:05:27,634
But he really does it, really.

117
00:05:33,590 --> 00:05:37,249
Thomas is–
he's definitely out there.

118
00:05:37,249 --> 00:05:39,130
But he got me out there
with him.

119
00:05:39,130 --> 00:05:40,500
Then– then a banner.

120
00:05:40,500 --> 00:05:41,940
- So then we do one banner more.

121
00:05:41,940 --> 00:05:43,280
Can we hang it in your house?

122
00:05:43,280 --> 00:05:45,280
- Of course, I told you.

123
00:05:45,280 --> 00:05:46,789
Whenever you're ready.

124
00:05:46,789 --> 00:05:47,800
Whenever– yes.

125
00:05:47,800 --> 00:05:53,181
- I asked Erik to compose a team
of 15 people

126
00:05:53,181 --> 00:05:56,157
to build the structure.

127
00:05:56,157 --> 00:05:58,504
[saw whirring]

128
00:05:59,438 --> 00:06:04,099
What was important,
I didn't tell him I need some specificity.

129
00:06:04,099 --> 00:06:05,830
I just needed residents.

130
00:06:05,830 --> 00:06:07,370
And he composed the team.

131
00:06:07,370 --> 00:06:10,619
And I'm very proud,
even when it was very difficult,

132
00:06:10,619 --> 00:06:14,280
to go to the end with the team.

133
00:06:14,280 --> 00:06:17,580
I told it in the beginning, but
when you are doing an artwork.

134
00:06:17,580 --> 00:06:24,699
And especially in public space,
it's never a completely success.

135
00:06:24,699 --> 00:06:28,640
But what is nice,
it's never a completely failure.

136
00:06:30,910 --> 00:06:33,800
- Thomas uses me
as one of his main carpenters.

137
00:06:33,800 --> 00:06:35,090
He'll tell me to do something,

138
00:06:35,090 --> 00:06:38,530
and I'll take my construction experience
to try to add something to it.

139
00:06:38,530 --> 00:06:40,340
But if he doesn't want to do it
that way, you know,

140
00:06:40,340 --> 00:06:41,340
Thomas is the boss.

141
00:06:41,340 --> 00:06:42,677
We have to do it his way.

142
00:06:42,677 --> 00:06:44,830
A lot of times, Thomas listens
to how I do things.

143
00:06:44,830 --> 00:06:47,692
So when they walk on it,
everything is balanced.

144
00:06:47,692 --> 00:06:48,692
- Oh.

145
00:06:48,940 --> 00:06:50,389
- He's not a construction guy.

146
00:06:50,389 --> 00:06:52,320
You know, as he say,
he's an artist.

147
00:06:52,320 --> 00:06:53,320
You know what I'm saying?

148
00:06:53,320 --> 00:06:55,310
He's not a construction guy
at all.

149
00:06:55,310 --> 00:06:58,290
- Well, we had plans
made by an architect

150
00:06:58,290 --> 00:07:00,990
but only to get permission.

151
00:07:00,990 --> 00:07:01,990
[laughs]

152
00:07:01,990 --> 00:07:06,280
And, I mean–
but also it was helpful,

153
00:07:06,280 --> 00:07:08,270
because, for example, I learned

154
00:07:08,270 --> 00:07:12,360
a staircase have
a certain dimension.

155
00:07:12,360 --> 00:07:16,440
So that I try to do–
not so good, but we tried.

156
00:07:17,201 --> 00:07:18,789
The same with the ramp.

157
00:07:18,789 --> 00:07:22,250
I mean, it has to have a kind
of level, of course, to go up.

158
00:07:22,250 --> 00:07:23,250
- I would go backwards,

159
00:07:23,250 --> 00:07:26,470
and then when it turned up,
I would turn around.

160
00:07:26,470 --> 00:07:27,909
So it's fine, Thomas.

161
00:07:27,909 --> 00:07:28,909
- Okay.

162
00:07:28,909 --> 00:07:32,139
To me, it seems the only way
to work together.

163
00:07:32,139 --> 00:07:35,860
Which I would like to call
in coexistence.

164
00:07:35,860 --> 00:07:39,757
Seems to me much more honest
to say "Coexistence"

165
00:07:39,757 --> 00:07:41,120
than "Collaboration."

166
00:07:42,581 --> 00:07:44,270
They will be paid
for their work,

167
00:07:44,270 --> 00:07:46,840
because it's like
I'm coming in a gallery

168
00:07:46,840 --> 00:07:50,159
And working with the people
who are working for the gallery

169
00:07:50,159 --> 00:07:51,160
or for the museum.

170
00:07:51,160 --> 00:07:52,954
They're paid as well.

171
00:07:54,280 --> 00:07:55,639
- When he first got there,

172
00:07:55,639 --> 00:07:57,870
he didn't want people to focus
on making money

173
00:07:57,870 --> 00:08:00,110
and people just focused
on doing a job.

174
00:08:00,110 --> 00:08:03,960
He wanted people to understand
what this gentleman was about, Antonio Gramsci.

175
00:08:05,061 --> 00:08:08,960
- I was very happy that in the
neighborhood of forest houses,

176
00:08:08,960 --> 00:08:12,000
people who didn't know
Antonio Gramsci

177
00:08:12,000 --> 00:08:15,389
made very immediately
the connection

178
00:08:15,389 --> 00:08:18,736
To Nelson Mandela or Malcolm X.

179
00:08:19,276 --> 00:08:23,220
Gramsci is a philosopher
of Marxist thinking,

180
00:08:23,220 --> 00:08:25,590
and he comes from italy.

181
00:08:25,590 --> 00:08:28,960
He went to prison
for his thinking.

182
00:08:28,960 --> 00:08:30,652
He didn't made a book.

183
00:08:30,652 --> 00:08:36,000
He made his notebooks, who are
like layers of thinkings,

184
00:08:36,000 --> 00:08:42,759
always related to very practical things
but still with a big ambition.

185
00:08:51,390 --> 00:08:54,475
This is not a cultural project
but an art project.

186
00:08:56,520 --> 00:09:00,240
It's very important
to understand it as a sculpture,

187
00:09:02,801 --> 00:09:07,935
as something who wants to engage
with the surrounding buildings.

188
00:09:10,350 --> 00:09:11,640
Why these materials?

189
00:09:11,640 --> 00:09:13,937
Because they're materials
that everybody use and knows.

190
00:09:15,330 --> 00:09:18,207
It's not because
it's in forest houses,

191
00:09:18,207 --> 00:09:20,850
in a socially
not favorite neighborhood

192
00:09:20,850 --> 00:09:25,196
that it is with cardboard
or with tape and with wood.

193
00:09:25,196 --> 00:09:28,980
No, it belongs
to my aesthetic vocabulary.

194
00:09:30,193 --> 00:09:32,040
- Shotgun, too hot to trot.

195
00:09:33,276 --> 00:09:36,540
Yo, we're here live, 91.9 fm.

196
00:09:36,540 --> 00:09:39,040
Don't forget to stop by
The Gramsci bar and grill,

197
00:09:39,040 --> 00:09:41,534
Where they've got all the
beautiful food and everything.

198
00:09:41,534 --> 00:09:42,510
It is so...

199
00:09:44,139 --> 00:09:47,363
- [singing]
♪early in the morning♪

200
00:09:47,363 --> 00:09:49,967
♪drive into the street♪

201
00:09:49,967 --> 00:09:51,428
That's it.

202
00:09:51,428 --> 00:09:53,639
[indistinct conversation]

203
00:09:55,549 --> 00:09:56,695
- No, island.

204
00:09:56,695 --> 00:09:58,379
Do you know how to spell?

205
00:09:58,941 --> 00:09:59,941
- Island?

206
00:10:02,120 --> 00:10:04,779
- On 5:00 sunday,
we got Mr. Marcus steinweg

207
00:10:04,779 --> 00:10:06,029
with the daily lecture.

208
00:10:06,029 --> 00:10:08,950
Mondays, we got our Gramsci theater.

209
00:10:08,950 --> 00:10:14,754
[people talking at once]

210
00:10:14,754 --> 00:10:16,444
- I'm going mad!

211
00:10:20,287 --> 00:10:21,100
People: Whoo!

212
00:10:22,786 --> 00:10:24,136
- Capitalism?

213
00:10:24,540 --> 00:10:25,890
Capitalism?

214
00:10:26,901 --> 00:10:28,160
Capitalism.

215
00:10:28,160 --> 00:10:29,356
- You learn.

216
00:10:29,648 --> 00:10:32,890
I met people
from all walk of life.

217
00:10:33,680 --> 00:10:34,680
I love that.

218
00:10:34,680 --> 00:10:36,871
That was– that was the best.

219
00:10:36,871 --> 00:10:37,891
- All over the world.

220
00:10:37,891 --> 00:10:39,180
- That's right.

221
00:10:39,180 --> 00:10:40,240
- The second part of my work

222
00:10:40,240 --> 00:10:42,770
is what I call
public interventions.

223
00:10:42,770 --> 00:10:44,950
I go out of the museum
and gallery world,

224
00:10:44,950 --> 00:10:47,020
And I try to reach an audience
that is larger

225
00:10:47,020 --> 00:10:52,499
than the small audience that
we know goes to the art world.

226
00:10:52,499 --> 00:10:55,769
And the third part
of my practice is teaching.

227
00:10:56,443 --> 00:10:58,339
That's fine, yeah.

228
00:10:58,339 --> 00:10:59,339
This is working?

229
00:10:59,339 --> 00:11:00,339
Okay, okay.

230
00:11:00,339 --> 00:11:01,339
- Sorry.

231
00:11:01,339 --> 00:11:02,339
- It's okay.

232
00:11:04,968 --> 00:11:06,918
- And if it wasn't here,
they wouldn't have came.

233
00:11:06,918 --> 00:11:07,938
- Right.

234
00:11:10,118 --> 00:11:12,684
- 'Cause why would they want
to come here?

235
00:11:17,336 --> 00:11:19,810
- On fridays,
Mr. Thomas Hirschhorn himself

236
00:11:19,810 --> 00:11:22,839
At 11:00 in the morning
to 3:00 in the afternoon

237
00:11:22,839 --> 00:11:24,670
with his art school.

238
00:11:24,670 --> 00:11:26,089
His art school is very good.

239
00:11:26,089 --> 00:11:28,370
I've been to the class
and everything,

240
00:11:28,370 --> 00:11:31,180
and it's right here
on the Gramsci monument stage.

241
00:11:31,180 --> 00:11:35,360
Thomas Hirshhorn's art school class,
11:00 in the morning.

242
00:11:35,360 --> 00:11:41,230
And his art school class,
it contains energy, yes; quality, no.

243
00:11:41,230 --> 00:11:44,179
- Never about judging a person, never.

244
00:11:44,179 --> 00:11:47,079
But judging a work with it, yes,

245
00:11:47,079 --> 00:11:49,779
because I believe
only the judgment of something

246
00:11:49,779 --> 00:11:53,070
we did ourself
or some other else did

247
00:11:53,070 --> 00:11:55,620
can help us to go forward.

248
00:11:55,620 --> 00:11:57,089
- If you can't take criticism...

249
00:11:57,089 --> 00:11:58,170
- Don't come.

250
00:11:58,170 --> 00:11:59,814
- Don't come to the class.

251
00:11:59,814 --> 00:12:01,083
- Energy, yes.

252
00:12:01,083 --> 00:12:02,453
Quality, no.

253
00:12:03,779 --> 00:12:07,649
I'm not interested
in the criteria of quality,

254
00:12:07,649 --> 00:12:11,070
because I think the criteria
of quality is exclusive.

255
00:12:11,070 --> 00:12:15,415
So that's why I try to invent
another criteria

256
00:12:15,415 --> 00:12:18,326
who replace the criteria
of quality,

257
00:12:18,326 --> 00:12:20,080
the criteria of energy.

258
00:12:21,182 --> 00:12:22,513
- It was kind of rough.

259
00:12:23,007 --> 00:12:24,456
- And make brown, right?

260
00:12:24,456 --> 00:12:25,741
- Can red and blue and orange?

261
00:12:25,741 --> 00:12:27,130
- Yeah, the last one,

262
00:12:27,130 --> 00:12:29,276
Because they're opposites.

263
00:12:29,276 --> 00:12:31,734
Orange and blue are opposites,
because orange...

264
00:12:31,734 --> 00:12:34,040
Thomas came to my school.

265
00:12:34,040 --> 00:12:36,300
I graduated from Princeton University.

266
00:12:36,300 --> 00:12:40,147
And he did a lecture, and I had
a studio visit with him.

267
00:12:40,147 --> 00:12:43,580
And his expression
"energy, yes; quality, no"

268
00:12:43,580 --> 00:12:46,720
is something
that really resonated with me.

269
00:12:46,720 --> 00:12:50,670
So I emailed him afterwards,
asking if I could be involved

270
00:12:50,670 --> 00:12:54,570
in his next project,
and he said yes.

271
00:12:54,570 --> 00:12:56,750
In the beginning,
it was more like a class.

272
00:12:57,222 --> 00:12:59,180
Like, for the first
five or six weeks,

273
00:12:59,180 --> 00:13:02,320
there was very, like,
specific activities

274
00:13:02,320 --> 00:13:05,730
that we were doing
about different artists,

275
00:13:05,730 --> 00:13:07,730
different ideas in art,

276
00:13:07,730 --> 00:13:10,310
different technical
art concepts.

277
00:13:10,310 --> 00:13:11,709
But then in the last few weeks,

278
00:13:11,709 --> 00:13:14,570
it's been more kind of just,
like, an open workshop,

279
00:13:14,570 --> 00:13:16,390
'cause now the kids
are coming in,

280
00:13:16,390 --> 00:13:18,930
and they have a lot more
of their own ideas.

281
00:13:18,930 --> 00:13:20,387
You want to spray the inside?

282
00:13:20,387 --> 00:13:22,617
- No, don't spray the inside.

283
00:13:22,819 --> 00:13:23,819
- All right.

284
00:13:24,000 --> 00:13:25,400
You could spray the inside.

285
00:13:25,848 --> 00:13:27,370
- This is not a collaboration.

286
00:13:27,370 --> 00:13:30,120
This is work in coexistence

287
00:13:30,120 --> 00:13:33,720
That me, I do it 100%,
but the other also 100%.

288
00:13:33,720 --> 00:13:35,920
So I cannot interfere.

289
00:13:35,920 --> 00:13:37,440
I don't want to interfere.

290
00:13:37,440 --> 00:13:40,940
And I want to take
the responsibility– and I can–

291
00:13:40,940 --> 00:13:43,529
of 100%
of what the other does also.

292
00:13:43,529 --> 00:13:46,122
That I call
unshared authorship.

293
00:13:46,122 --> 00:13:48,870
So, for example,
in the radio station,

294
00:13:48,870 --> 00:13:52,889
what the DJ Gucci
Or DJ Baby Dee told

295
00:13:52,889 --> 00:13:58,160
and how they told it, I take
100% responsibility about.

296
00:13:58,160 --> 00:14:01,352
- Offices have a certain amount
of collars to get monthly,

297
00:14:01,352 --> 00:14:02,860
I was told.

298
00:14:02,860 --> 00:14:07,770
I was told, when I was writing tickets,
that I had a minimum of 27 tickets

299
00:14:07,770 --> 00:14:10,620
I had to write per month minimum.

300
00:14:10,620 --> 00:14:11,779
Look around you.

301
00:14:11,779 --> 00:14:14,440
Notice that when you enter
upon a projects,

302
00:14:14,440 --> 00:14:17,170
what is it
that you're walking through?

303
00:14:17,170 --> 00:14:19,181
Whereas it–
they were not there years ago.

304
00:14:19,181 --> 00:14:20,011
- It's, like, gated.

305
00:14:20,011 --> 00:14:21,011
- Raw iron gates.

306
00:14:21,011 --> 00:14:21,831
- Yeah.

307
00:14:21,831 --> 00:14:24,790
- Once you enter
upon those raw iron gates,

308
00:14:24,790 --> 00:14:27,240
you're practically going
through a door.

309
00:14:27,240 --> 00:14:29,419
That's the insignia
of trespassing.

310
00:14:29,419 --> 00:14:31,350
- The thing is, do we go down?

311
00:14:31,350 --> 00:14:32,350
Do we make a complaint?

312
00:14:32,350 --> 00:14:33,058
- Of course.

313
00:14:33,058 --> 00:14:34,058
- Do we fight the ticket?

314
00:14:34,058 --> 00:14:34,558
Wait a minute.

315
00:14:34,558 --> 00:14:35,058
Let me just finish.

316
00:14:35,058 --> 00:14:37,540
Do we fight the ticket,
or do we just let it sit

317
00:14:37,540 --> 00:14:39,370
and get a warrant
and then double up our problem?

318
00:14:39,370 --> 00:14:40,529
- I think I have a solution.

319
00:14:40,529 --> 00:14:41,529
- Yeah, yeah, solution.

320
00:14:41,529 --> 00:14:42,649
Let's hear a solution.

321
00:14:42,649 --> 00:14:44,470
- I've been going through it,
So...

322
00:14:44,470 --> 00:14:48,390
- Then, at 4:00, we got the daily lecture
with Mr. Marcus Steinweg.

323
00:14:48,390 --> 00:14:53,110
His daily lecture for today is
"For the Love of Philosophy."

324
00:14:53,110 --> 00:14:57,430
- A kind of ontological void
or emptiness.

325
00:14:57,430 --> 00:14:59,290
What does it mean, then,
for the change

326
00:14:59,290 --> 00:15:02,050
now transform situation
of the human subject?

327
00:15:02,050 --> 00:15:05,699
What does it mean for the
definition of what thinking is?

328
00:15:05,699 --> 00:15:08,839
So thinking is first
to deal with this lack,

329
00:15:08,839 --> 00:15:10,990
with this void,
with this emptiness.

330
00:15:10,990 --> 00:15:12,949
call it the inexistence of God.

331
00:15:12,949 --> 00:15:16,930
Call it simply a kind of–
Call it a kind of–

332
00:15:16,930 --> 00:15:17,930
the whole of freedom,

333
00:15:17,930 --> 00:15:19,500
like Jean-Paul Sartre
is claiming that.

334
00:15:19,935 --> 00:15:22,144
- He said that yesterday
he don't believe in God.

335
00:15:22,144 --> 00:15:23,483
And I said, "What you mean,
you don't believe in God?"

336
00:15:23,483 --> 00:15:26,240
That, like, it got to me.

337
00:15:26,240 --> 00:15:29,240
I had to get up and say– I had
to get up and say something.

338
00:15:29,240 --> 00:15:30,839
"What you mean,
you don't believe in God?"

339
00:15:30,839 --> 00:15:33,080
He said
he don't believe in nothing.

340
00:15:33,080 --> 00:15:34,434
I said, "Okay."

341
00:15:35,602 --> 00:15:37,509
- When I'm in front
of an artwork,

342
00:15:37,509 --> 00:15:40,149
there are two questions.

343
00:15:40,149 --> 00:15:41,500
Where do you stand?

344
00:15:41,770 --> 00:15:44,429
What do you want?

345
00:15:44,429 --> 00:15:45,569
- Without getting too deep,
too heavy–

346
00:15:45,569 --> 00:15:48,411
- Yo, this next song is a joint
called I got it.

347
00:15:49,287 --> 00:15:51,819
And this is basically based
on anybody

348
00:15:51,819 --> 00:15:53,620
who's ever tried
to accomplish something

349
00:15:53,620 --> 00:15:56,380
When the odds
was really against you

350
00:15:56,380 --> 00:15:58,110
but you still pushed forward
anyway.

351
00:15:58,110 --> 00:15:59,230
- Yeah, yeah.

352
00:15:59,230 --> 00:16:01,490
- With that said, soundman.

353
00:16:01,490 --> 00:16:03,180
[latin guitar music]

354
00:16:03,180 --> 00:16:06,000
♪like flaunting these roses♪

355
00:16:06,000 --> 00:16:08,387
♪so many phony imposers♪

356
00:16:08,387 --> 00:16:10,793
♪so many days on the humble♪

357
00:16:10,793 --> 00:16:14,025
♪now feel my attitude crumble♪

358
00:16:14,025 --> 00:16:16,377
♪and I won't shut it off♪

359
00:16:16,377 --> 00:16:18,859
♪I've paid every cost♪

360
00:16:18,859 --> 00:16:21,933
♪so all that shots I call♪

361
00:16:21,933 --> 00:16:23,628
♪who are you to doubt it?♪

362
00:16:23,628 --> 00:16:25,590
♪many floors in entertainment♪

363
00:16:25,590 --> 00:16:28,011
♪I bear my soul
'fore it's naked♪

364
00:16:28,011 --> 00:16:30,398
♪too many dreams now faded♪

365
00:16:30,398 --> 00:16:33,878
♪they're saying
I'll never make it♪

366
00:16:33,878 --> 00:16:36,000
♪and I should fold my cards♪

367
00:16:36,000 --> 00:16:38,551
♪damn, I've come too far♪

368
00:16:38,551 --> 00:16:41,294
♪I shine above them all♪

369
00:16:41,294 --> 00:16:43,853
♪and everything I love,
Man, I got it♪

370
00:16:43,853 --> 00:16:45,302
Thanks for the love,
Forest Projects.

371
00:16:45,302 --> 00:16:46,800
We out of here.

372
00:16:46,800 --> 00:16:49,490
- I told y'all
I was gonna be crazy.

373
00:16:49,490 --> 00:16:51,310
You didn't believe me.

374
00:16:51,984 --> 00:16:53,500
I told you.

375
00:16:54,966 --> 00:16:55,923
MARCELLA PARADISE:
Speaking and talking

376
00:16:55,923 --> 00:16:56,940
to other people,

377
00:16:56,940 --> 00:16:58,940
Listening
to other people lectures,

378
00:16:58,940 --> 00:17:02,730
saying where they came from
and from where you came from,

379
00:17:03,292 --> 00:17:04,148
we're gonna miss it.

380
00:17:04,148 --> 00:17:04,961
- Yeah.

381
00:17:06,000 --> 00:17:07,050
- Yeah.

382
00:17:07,050 --> 00:17:08,339
- We ain't feel it yet.

383
00:17:08,339 --> 00:17:10,559
We ain't feel it yet,
but it's gonna bring some tears.

384
00:17:10,559 --> 00:17:12,579
It's gonna bring some tears
here.

385
00:17:12,579 --> 00:17:14,512
- 'Cause that means
the people go.

386
00:17:14,512 --> 00:17:17,049
- Right, and it's just gonna be
something loss here.

387
00:17:17,049 --> 00:17:18,940
Just gonna be
like someone die.

388
00:17:18,940 --> 00:17:19,940
- Mm-hmm.

389
00:17:19,940 --> 00:17:23,076
- Now I understand
what a monument means.

390
00:17:23,076 --> 00:17:28,980
It's something that stays in
your heart and in your memory,

391
00:17:28,980 --> 00:17:31,423
because they only have it once.

392
00:17:31,423 --> 00:17:32,935
- Yeah.