WEBVTT

00:00:12.904 --> 00:00:15.477
[child yelling]

00:00:19.140 --> 00:00:20.140
- We'd like to thank y'all.

00:00:20.140 --> 00:00:22.459
You know, I thank y'all
personally, you know,

00:00:22.459 --> 00:00:24.000
for coming out.

00:00:25.813 --> 00:00:30.678
[applause]

00:00:30.678 --> 00:00:31.498
Please.

00:00:31.498 --> 00:00:31.998
Please.

00:00:31.998 --> 00:00:33.970
Thank you, DJ Baby Dee.

00:00:33.970 --> 00:00:34.970
[laughter]

00:00:35.650 --> 00:00:38.260
- Say it again.

00:00:38.260 --> 00:00:39.260
- DJ Baby Dee..

00:00:39.260 --> 00:00:41.130
[laughter]

00:00:42.501 --> 00:00:45.190
This day is an exceptional day,

00:00:45.190 --> 00:00:47.480
because it's the day
of the opening.

00:00:47.480 --> 00:00:50.090
So what counts now
and what is the change

00:00:50.090 --> 00:00:52.070
and what is
the most important thing

00:00:52.070 --> 00:00:54.430
to me as an artist
is every day–

00:00:54.430 --> 00:00:57.460
to be every day here,

00:00:57.460 --> 00:01:02.721
every day here to be present
and to produce something.

00:01:02.721 --> 00:01:06.000
Why the presence and the
production is so important?

00:01:06.000 --> 00:01:08.830
Because I believe
only with the presence

00:01:08.830 --> 00:01:10.434
and the production,

00:01:10.434 --> 00:01:13.320
we can create the condition

00:01:13.320 --> 00:01:17.827
that the residents
are implicated.

00:01:17.827 --> 00:01:20.659
So every day we will be here,

00:01:20.659 --> 00:01:24.893
and we will be present and
produce the Gramsci Monument.

00:01:24.893 --> 00:01:28.689
Because this, what you see,
is not the Gramsci monument.

00:01:28.689 --> 00:01:32.371
It's only the structure
of the Gramsci monument.

00:01:32.371 --> 00:01:35.229
'Cause what I want to do
is a new kind of monument.

00:01:35.229 --> 00:01:37.583
So this new kind of monument,

00:01:37.583 --> 00:01:40.590
I have to construct it
every day in being here,

00:01:40.590 --> 00:01:42.993
in being present
and in producing

00:01:42.993 --> 00:01:46.150
and in addressing it first

00:01:46.150 --> 00:01:50.450
to the family who lives
in fifth floor there

00:01:50.450 --> 00:01:54.229
or the family who lives there
in first floor

00:01:54.229 --> 00:01:57.320
or the woman who lives up there
in the fifth floor.

00:01:57.320 --> 00:01:58.500
They are my public.

00:01:58.500 --> 00:01:59.500
This is the challenge.

00:01:59.500 --> 00:02:03.042
This what's about,
the Gramsci monument:

00:02:03.042 --> 00:02:06.509
To create memory,
a common memory.

00:02:08.534 --> 00:02:10.700
- Ace, deuce, and no use.

00:02:10.700 --> 00:02:11.700
[laughter]

00:02:14.251 --> 00:02:16.070
- The three the hard way.

00:02:16.070 --> 00:02:16.570
- Yo!

00:02:18.255 --> 00:02:19.272
- These are my buddies here.

00:02:19.272 --> 00:02:21.107
I could tease 'em all day long.

00:02:21.107 --> 00:02:24.120
But they--I know not to get out
of line with 'em neither too,

00:02:24.120 --> 00:02:25.120
'cause they'll slap me around

00:02:25.120 --> 00:02:27.013
like if I'm one of
their children.

00:02:27.013 --> 00:02:29.271
- You wouldn't
have never figured

00:02:29.271 --> 00:02:33.928
it would've been like this
when they first started out.

00:02:36.939 --> 00:02:43.008
- I believe that every human being
has an understanding of art.

00:02:43.008 --> 00:02:49.980
What is separating us is smaller
than what is unifying us.

00:02:49.980 --> 00:02:51.822
But in order to unify,

00:02:51.822 --> 00:02:54.940
you have really to take
something who goes beyond.

00:02:54.940 --> 00:02:57.415
And this is art to me.

00:03:00.000 --> 00:03:01.480
What I wanted, actually,

00:03:01.480 --> 00:03:06.000
is to establish a new term
of monument.

00:03:06.000 --> 00:03:07.550
Why it's new?

00:03:07.550 --> 00:03:09.335
Its location.

00:03:09.335 --> 00:03:11.000
It is not in a park.

00:03:11.000 --> 00:03:12.690
It's not in a city center.

00:03:12.690 --> 00:03:14.170
It's where people are living.

00:03:14.170 --> 00:03:15.730
Why where people are living?

00:03:15.730 --> 00:03:16.980
Because I want to address it

00:03:16.980 --> 00:03:20.420
to what I call
a nonexclusive audience.

00:03:21.274 --> 00:03:27.778
It is new because its duration
has no ambition of eternity.

00:03:27.778 --> 00:03:30.569
It wants to create memory.

00:03:30.569 --> 00:03:35.599
Actually, in every artwork,
I would like to establish

00:03:35.599 --> 00:03:38.970
a new term of form,
a new term of art.

00:03:38.970 --> 00:03:40.981
This is my big ambition,
of course.

00:03:43.584 --> 00:03:45.528
- There's a lot of people
came walkin' around,

00:03:45.528 --> 00:03:47.354
looking while they was
building it.

00:03:47.354 --> 00:03:47.901
- Right.

00:03:48.530 --> 00:03:50.423
- And they wasn't sure at all.

00:03:51.267 --> 00:03:53.086
- A lot of people call
this place the wood.

00:03:53.086 --> 00:03:54.476
- Yeah, the wood.

00:03:55.330 --> 00:03:58.479
- What did he call it?

00:03:58.479 --> 00:03:59.479
- The little rascals.

00:03:59.479 --> 00:04:01.355
- Oh, yeah,
the little rascal clubhouse.

00:04:01.355 --> 00:04:01.855
- Yeah, that's what I call it.

00:04:01.855 --> 00:04:03.147
- That's the best one.

00:04:03.354 --> 00:04:05.720
The one that Phil
had called it, he said,

00:04:05.720 --> 00:04:07.942
"Little House on the Prairie
meets the Bronx."

00:04:07.942 --> 00:04:08.939
I was like, "That's it.

00:04:08.939 --> 00:04:11.090
Michael Landon's
nowhere around."

00:04:11.090 --> 00:04:12.654
[laughs]
Yup.

00:04:12.654 --> 00:04:16.989
Because I decided to do it
where people are living,

00:04:16.989 --> 00:04:21.874
I must find somebody
who agree with my project.

00:04:21.874 --> 00:04:25.515
I call it the key figure,
Erik Farmer.

00:04:25.694 --> 00:04:29.130
Erik is the president
of forest houses,

00:04:29.130 --> 00:04:30.500
the key to the neighborhood.

00:04:31.624 --> 00:04:33.509
ERIK FARMER: The first response was,
"What is this?"

00:04:33.509 --> 00:04:34.789
Like, "What is this about?"

00:04:34.789 --> 00:04:36.370
You know, I don't know anything
about art.

00:04:36.370 --> 00:04:37.770
I don't know
who Antonio Gramsci is.

00:04:37.770 --> 00:04:40.210
I didn't know
who Thomas Hirschhorn was.

00:04:41.064 --> 00:04:42.790
My understanding
of a monument

00:04:42.790 --> 00:04:46.300
was something that–
it pretty much doesn't move.

00:04:46.300 --> 00:04:48.150
It just– you know,
it stays there.

00:04:48.150 --> 00:04:49.800
So I'm like,
"How can it be a monument

00:04:49.800 --> 00:04:51.592
but you're saying
you're gonna take it down?"

00:04:51.592 --> 00:04:53.729
So he was explaining to me
this is, like, a new concept.

00:04:55.774 --> 00:04:57.400
And he actually brought me
some books,

00:04:57.400 --> 00:04:59.080
some past work he did.

00:04:59.080 --> 00:05:01.340
You know, I read up on him
and all that.

00:05:01.744 --> 00:05:06.840
It's a monument,
but it's a temporary monument.

00:05:08.278 --> 00:05:10.110
Once he told me that,

00:05:10.110 --> 00:05:11.940
I got a understanding
of what he wanted to do.

00:05:12.929 --> 00:05:15.740
And I knew
he was into tape before this.

00:05:15.740 --> 00:05:17.900
He's, like, a tape freak
or something.

00:05:17.900 --> 00:05:19.080
I never– he loves tape.

00:05:19.080 --> 00:05:20.930
I never seen nobody
like that before.

00:05:20.930 --> 00:05:23.840
And he tells me, you know,
"You can use tape for anything."

00:05:23.840 --> 00:05:25.581
How can you use tape
for anything?

00:05:25.581 --> 00:05:27.634
But he really does it, really.

00:05:33.590 --> 00:05:37.249
Thomas is–
he's definitely out there.

00:05:37.249 --> 00:05:39.130
But he got me out there
with him.

00:05:39.130 --> 00:05:40.500
Then– then a banner.

00:05:40.500 --> 00:05:41.940
- So then we do one banner more.

00:05:41.940 --> 00:05:43.280
Can we hang it in your house?

00:05:43.280 --> 00:05:45.280
- Of course, I told you.

00:05:45.280 --> 00:05:46.789
Whenever you're ready.

00:05:46.789 --> 00:05:47.800
Whenever– yes.

00:05:47.800 --> 00:05:53.181
- I asked Erik to compose a team
of 15 people

00:05:53.181 --> 00:05:56.157
to build the structure.

00:05:56.157 --> 00:05:58.504
[saw whirring]

00:05:59.438 --> 00:06:04.099
What was important,
I didn't tell him I need some specificity.

00:06:04.099 --> 00:06:05.830
I just needed residents.

00:06:05.830 --> 00:06:07.370
And he composed the team.

00:06:07.370 --> 00:06:10.619
And I'm very proud,
even when it was very difficult,

00:06:10.619 --> 00:06:14.280
to go to the end with the team.

00:06:14.280 --> 00:06:17.580
I told it in the beginning, but
when you are doing an artwork.

00:06:17.580 --> 00:06:24.699
And especially in public space,
it's never a completely success.

00:06:24.699 --> 00:06:28.640
But what is nice,
it's never a completely failure.

00:06:30.910 --> 00:06:33.800
- Thomas uses me
as one of his main carpenters.

00:06:33.800 --> 00:06:35.090
He'll tell me to do something,

00:06:35.090 --> 00:06:38.530
and I'll take my construction experience
to try to add something to it.

00:06:38.530 --> 00:06:40.340
But if he doesn't want to do it
that way, you know,

00:06:40.340 --> 00:06:41.340
Thomas is the boss.

00:06:41.340 --> 00:06:42.677
We have to do it his way.

00:06:42.677 --> 00:06:44.830
A lot of times, Thomas listens
to how I do things.

00:06:44.830 --> 00:06:47.692
So when they walk on it,
everything is balanced.

00:06:47.692 --> 00:06:48.692
- Oh.

00:06:48.940 --> 00:06:50.389
- He's not a construction guy.

00:06:50.389 --> 00:06:52.320
You know, as he say,
he's an artist.

00:06:52.320 --> 00:06:53.320
You know what I'm saying?

00:06:53.320 --> 00:06:55.310
He's not a construction guy
at all.

00:06:55.310 --> 00:06:58.290
- Well, we had plans
made by an architect

00:06:58.290 --> 00:07:00.990
but only to get permission.

00:07:00.990 --> 00:07:01.990
[laughs]

00:07:01.990 --> 00:07:06.280
And, I mean–
but also it was helpful,

00:07:06.280 --> 00:07:08.270
because, for example, I learned

00:07:08.270 --> 00:07:12.360
a staircase have
a certain dimension.

00:07:12.360 --> 00:07:16.440
So that I try to do–
not so good, but we tried.

00:07:17.201 --> 00:07:18.789
The same with the ramp.

00:07:18.789 --> 00:07:22.250
I mean, it has to have a kind
of level, of course, to go up.

00:07:22.250 --> 00:07:23.250
- I would go backwards,

00:07:23.250 --> 00:07:26.470
and then when it turned up,
I would turn around.

00:07:26.470 --> 00:07:27.909
So it's fine, Thomas.

00:07:27.909 --> 00:07:28.909
- Okay.

00:07:28.909 --> 00:07:32.139
To me, it seems the only way
to work together.

00:07:32.139 --> 00:07:35.860
Which I would like to call
in coexistence.

00:07:35.860 --> 00:07:39.757
Seems to me much more honest
to say "Coexistence"

00:07:39.757 --> 00:07:41.120
than "Collaboration."

00:07:42.581 --> 00:07:44.270
They will be paid
for their work,

00:07:44.270 --> 00:07:46.840
because it's like
I'm coming in a gallery

00:07:46.840 --> 00:07:50.159
And working with the people
who are working for the gallery

00:07:50.159 --> 00:07:51.160
or for the museum.

00:07:51.160 --> 00:07:52.954
They're paid as well.

00:07:54.280 --> 00:07:55.639
- When he first got there,

00:07:55.639 --> 00:07:57.870
he didn't want people to focus
on making money

00:07:57.870 --> 00:08:00.110
and people just focused
on doing a job.

00:08:00.110 --> 00:08:03.960
He wanted people to understand
what this gentleman was about, Antonio Gramsci.

00:08:05.061 --> 00:08:08.960
- I was very happy that in the
neighborhood of forest houses,

00:08:08.960 --> 00:08:12.000
people who didn't know
Antonio Gramsci

00:08:12.000 --> 00:08:15.389
made very immediately
the connection

00:08:15.389 --> 00:08:18.736
To Nelson Mandela or Malcolm X.

00:08:19.276 --> 00:08:23.220
Gramsci is a philosopher
of Marxist thinking,

00:08:23.220 --> 00:08:25.590
and he comes from italy.

00:08:25.590 --> 00:08:28.960
He went to prison
for his thinking.

00:08:28.960 --> 00:08:30.652
He didn't made a book.

00:08:30.652 --> 00:08:36.000
He made his notebooks, who are
like layers of thinkings,

00:08:36.000 --> 00:08:42.759
always related to very practical things
but still with a big ambition.

00:08:51.390 --> 00:08:54.475
This is not a cultural project
but an art project.

00:08:56.520 --> 00:09:00.240
It's very important
to understand it as a sculpture,

00:09:02.801 --> 00:09:07.935
as something who wants to engage
with the surrounding buildings.

00:09:10.350 --> 00:09:11.640
Why these materials?

00:09:11.640 --> 00:09:13.937
Because they're materials
that everybody use and knows.

00:09:15.330 --> 00:09:18.207
It's not because
it's in forest houses,

00:09:18.207 --> 00:09:20.850
in a socially
not favorite neighborhood

00:09:20.850 --> 00:09:25.196
that it is with cardboard
or with tape and with wood.

00:09:25.196 --> 00:09:28.980
No, it belongs
to my aesthetic vocabulary.

00:09:30.193 --> 00:09:32.040
- Shotgun, too hot to trot.

00:09:33.276 --> 00:09:36.540
Yo, we're here live, 91.9 fm.

00:09:36.540 --> 00:09:39.040
Don't forget to stop by
The Gramsci bar and grill,

00:09:39.040 --> 00:09:41.534
Where they've got all the
beautiful food and everything.

00:09:41.534 --> 00:09:42.510
It is so...

00:09:44.139 --> 00:09:47.363
- [singing]
♪early in the morning♪

00:09:47.363 --> 00:09:49.967
♪drive into the street♪

00:09:49.967 --> 00:09:51.428
That's it.

00:09:51.428 --> 00:09:53.639
[indistinct conversation]

00:09:55.549 --> 00:09:56.695
- No, island.

00:09:56.695 --> 00:09:58.379
Do you know how to spell?

00:09:58.941 --> 00:09:59.941
- Island?

00:10:02.120 --> 00:10:04.779
- On 5:00 sunday,
we got Mr. Marcus steinweg

00:10:04.779 --> 00:10:06.029
with the daily lecture.

00:10:06.029 --> 00:10:08.950
Mondays, we got our Gramsci theater.

00:10:08.950 --> 00:10:14.754
[people talking at once]

00:10:14.754 --> 00:10:16.444
- I'm going mad!

00:10:20.287 --> 00:10:21.100
People: Whoo!

00:10:22.786 --> 00:10:24.136
- Capitalism?

00:10:24.540 --> 00:10:25.890
Capitalism?

00:10:26.901 --> 00:10:28.160
Capitalism.

00:10:28.160 --> 00:10:29.356
- You learn.

00:10:29.648 --> 00:10:32.890
I met people
from all walk of life.

00:10:33.680 --> 00:10:34.680
I love that.

00:10:34.680 --> 00:10:36.871
That was– that was the best.

00:10:36.871 --> 00:10:37.891
- All over the world.

00:10:37.891 --> 00:10:39.180
- That's right.

00:10:39.180 --> 00:10:40.240
- The second part of my work

00:10:40.240 --> 00:10:42.770
is what I call
public interventions.

00:10:42.770 --> 00:10:44.950
I go out of the museum
and gallery world,

00:10:44.950 --> 00:10:47.020
And I try to reach an audience
that is larger

00:10:47.020 --> 00:10:52.499
than the small audience that
we know goes to the art world.

00:10:52.499 --> 00:10:55.769
And the third part
of my practice is teaching.

00:10:56.443 --> 00:10:58.339
That's fine, yeah.

00:10:58.339 --> 00:10:59.339
This is working?

00:10:59.339 --> 00:11:00.339
Okay, okay.

00:11:00.339 --> 00:11:01.339
- Sorry.

00:11:01.339 --> 00:11:02.339
- It's okay.

00:11:04.968 --> 00:11:06.918
- And if it wasn't here,
they wouldn't have came.

00:11:06.918 --> 00:11:07.938
- Right.

00:11:10.118 --> 00:11:12.684
- 'Cause why would they want
to come here?

00:11:17.336 --> 00:11:19.810
- On fridays,
Mr. Thomas Hirschhorn himself

00:11:19.810 --> 00:11:22.839
At 11:00 in the morning
to 3:00 in the afternoon

00:11:22.839 --> 00:11:24.670
with his art school.

00:11:24.670 --> 00:11:26.089
His art school is very good.

00:11:26.089 --> 00:11:28.370
I've been to the class
and everything,

00:11:28.370 --> 00:11:31.180
and it's right here
on the Gramsci monument stage.

00:11:31.180 --> 00:11:35.360
Thomas Hirshhorn's art school class,
11:00 in the morning.

00:11:35.360 --> 00:11:41.230
And his art school class,
it contains energy, yes; quality, no.

00:11:41.230 --> 00:11:44.179
- Never about judging a person, never.

00:11:44.179 --> 00:11:47.079
But judging a work with it, yes,

00:11:47.079 --> 00:11:49.779
because I believe
only the judgment of something

00:11:49.779 --> 00:11:53.070
we did ourself
or some other else did

00:11:53.070 --> 00:11:55.620
can help us to go forward.

00:11:55.620 --> 00:11:57.089
- If you can't take criticism...

00:11:57.089 --> 00:11:58.170
- Don't come.

00:11:58.170 --> 00:11:59.814
- Don't come to the class.

00:11:59.814 --> 00:12:01.083
- Energy, yes.

00:12:01.083 --> 00:12:02.453
Quality, no.

00:12:03.779 --> 00:12:07.649
I'm not interested
in the criteria of quality,

00:12:07.649 --> 00:12:11.070
because I think the criteria
of quality is exclusive.

00:12:11.070 --> 00:12:15.415
So that's why I try to invent
another criteria

00:12:15.415 --> 00:12:18.326
who replace the criteria
of quality,

00:12:18.326 --> 00:12:20.080
the criteria of energy.

00:12:21.182 --> 00:12:22.513
- It was kind of rough.

00:12:23.007 --> 00:12:24.456
- And make brown, right?

00:12:24.456 --> 00:12:25.741
- Can red and blue and orange?

00:12:25.741 --> 00:12:27.130
- Yeah, the last one,

00:12:27.130 --> 00:12:29.276
Because they're opposites.

00:12:29.276 --> 00:12:31.734
Orange and blue are opposites,
because orange...

00:12:31.734 --> 00:12:34.040
Thomas came to my school.

00:12:34.040 --> 00:12:36.300
I graduated from Princeton University.

00:12:36.300 --> 00:12:40.147
And he did a lecture, and I had
a studio visit with him.

00:12:40.147 --> 00:12:43.580
And his expression
"energy, yes; quality, no"

00:12:43.580 --> 00:12:46.720
is something
that really resonated with me.

00:12:46.720 --> 00:12:50.670
So I emailed him afterwards,
asking if I could be involved

00:12:50.670 --> 00:12:54.570
in his next project,
and he said yes.

00:12:54.570 --> 00:12:56.750
In the beginning,
it was more like a class.

00:12:57.222 --> 00:12:59.180
Like, for the first
five or six weeks,

00:12:59.180 --> 00:13:02.320
there was very, like,
specific activities

00:13:02.320 --> 00:13:05.730
that we were doing
about different artists,

00:13:05.730 --> 00:13:07.730
different ideas in art,

00:13:07.730 --> 00:13:10.310
different technical
art concepts.

00:13:10.310 --> 00:13:11.709
But then in the last few weeks,

00:13:11.709 --> 00:13:14.570
it's been more kind of just,
like, an open workshop,

00:13:14.570 --> 00:13:16.390
'cause now the kids
are coming in,

00:13:16.390 --> 00:13:18.930
and they have a lot more
of their own ideas.

00:13:18.930 --> 00:13:20.387
You want to spray the inside?

00:13:20.387 --> 00:13:22.617
- No, don't spray the inside.

00:13:22.819 --> 00:13:23.819
- All right.

00:13:24.000 --> 00:13:25.400
You could spray the inside.

00:13:25.848 --> 00:13:27.370
- This is not a collaboration.

00:13:27.370 --> 00:13:30.120
This is work in coexistence

00:13:30.120 --> 00:13:33.720
That me, I do it 100%,
but the other also 100%.

00:13:33.720 --> 00:13:35.920
So I cannot interfere.

00:13:35.920 --> 00:13:37.440
I don't want to interfere.

00:13:37.440 --> 00:13:40.940
And I want to take
the responsibility– and I can–

00:13:40.940 --> 00:13:43.529
of 100%
of what the other does also.

00:13:43.529 --> 00:13:46.122
That I call
unshared authorship.

00:13:46.122 --> 00:13:48.870
So, for example,
in the radio station,

00:13:48.870 --> 00:13:52.889
what the DJ Gucci
Or DJ Baby Dee told

00:13:52.889 --> 00:13:58.160
and how they told it, I take
100% responsibility about.

00:13:58.160 --> 00:14:01.352
- Offices have a certain amount
of collars to get monthly,

00:14:01.352 --> 00:14:02.860
I was told.

00:14:02.860 --> 00:14:07.770
I was told, when I was writing tickets,
that I had a minimum of 27 tickets

00:14:07.770 --> 00:14:10.620
I had to write per month minimum.

00:14:10.620 --> 00:14:11.779
Look around you.

00:14:11.779 --> 00:14:14.440
Notice that when you enter
upon a projects,

00:14:14.440 --> 00:14:17.170
what is it
that you're walking through?

00:14:17.170 --> 00:14:19.181
Whereas it–
they were not there years ago.

00:14:19.181 --> 00:14:20.011
- It's, like, gated.

00:14:20.011 --> 00:14:21.011
- Raw iron gates.

00:14:21.011 --> 00:14:21.831
- Yeah.

00:14:21.831 --> 00:14:24.790
- Once you enter
upon those raw iron gates,

00:14:24.790 --> 00:14:27.240
you're practically going
through a door.

00:14:27.240 --> 00:14:29.419
That's the insignia
of trespassing.

00:14:29.419 --> 00:14:31.350
- The thing is, do we go down?

00:14:31.350 --> 00:14:32.350
Do we make a complaint?

00:14:32.350 --> 00:14:33.058
- Of course.

00:14:33.058 --> 00:14:34.058
- Do we fight the ticket?

00:14:34.058 --> 00:14:34.558
Wait a minute.

00:14:34.558 --> 00:14:35.058
Let me just finish.

00:14:35.058 --> 00:14:37.540
Do we fight the ticket,
or do we just let it sit

00:14:37.540 --> 00:14:39.370
and get a warrant
and then double up our problem?

00:14:39.370 --> 00:14:40.529
- I think I have a solution.

00:14:40.529 --> 00:14:41.529
- Yeah, yeah, solution.

00:14:41.529 --> 00:14:42.649
Let's hear a solution.

00:14:42.649 --> 00:14:44.470
- I've been going through it,
So...

00:14:44.470 --> 00:14:48.390
- Then, at 4:00, we got the daily lecture
with Mr. Marcus Steinweg.

00:14:48.390 --> 00:14:53.110
His daily lecture for today is
"For the Love of Philosophy."

00:14:53.110 --> 00:14:57.430
- A kind of ontological void
or emptiness.

00:14:57.430 --> 00:14:59.290
What does it mean, then,
for the change

00:14:59.290 --> 00:15:02.050
now transform situation
of the human subject?

00:15:02.050 --> 00:15:05.699
What does it mean for the
definition of what thinking is?

00:15:05.699 --> 00:15:08.839
So thinking is first
to deal with this lack,

00:15:08.839 --> 00:15:10.990
with this void,
with this emptiness.

00:15:10.990 --> 00:15:12.949
call it the inexistence of God.

00:15:12.949 --> 00:15:16.930
Call it simply a kind of–
Call it a kind of–

00:15:16.930 --> 00:15:17.930
the whole of freedom,

00:15:17.930 --> 00:15:19.500
like Jean-Paul Sartre
is claiming that.

00:15:19.935 --> 00:15:22.144
- He said that yesterday
he don't believe in God.

00:15:22.144 --> 00:15:23.483
And I said, "What you mean,
you don't believe in God?"

00:15:23.483 --> 00:15:26.240
That, like, it got to me.

00:15:26.240 --> 00:15:29.240
I had to get up and say– I had
to get up and say something.

00:15:29.240 --> 00:15:30.839
"What you mean,
you don't believe in God?"

00:15:30.839 --> 00:15:33.080
He said
he don't believe in nothing.

00:15:33.080 --> 00:15:34.434
I said, "Okay."

00:15:35.602 --> 00:15:37.509
- When I'm in front
of an artwork,

00:15:37.509 --> 00:15:40.149
there are two questions.

00:15:40.149 --> 00:15:41.500
Where do you stand?

00:15:41.770 --> 00:15:44.429
What do you want?

00:15:44.429 --> 00:15:45.569
- Without getting too deep,
too heavy–

00:15:45.569 --> 00:15:48.411
- Yo, this next song is a joint
called I got it.

00:15:49.287 --> 00:15:51.819
And this is basically based
on anybody

00:15:51.819 --> 00:15:53.620
who's ever tried
to accomplish something

00:15:53.620 --> 00:15:56.380
When the odds
was really against you

00:15:56.380 --> 00:15:58.110
but you still pushed forward
anyway.

00:15:58.110 --> 00:15:59.230
- Yeah, yeah.

00:15:59.230 --> 00:16:01.490
- With that said, soundman.

00:16:01.490 --> 00:16:03.180
[latin guitar music]

00:16:03.180 --> 00:16:06.000
♪like flaunting these roses♪

00:16:06.000 --> 00:16:08.387
♪so many phony imposers♪

00:16:08.387 --> 00:16:10.793
♪so many days on the humble♪

00:16:10.793 --> 00:16:14.025
♪now feel my attitude crumble♪

00:16:14.025 --> 00:16:16.377
♪and I won't shut it off♪

00:16:16.377 --> 00:16:18.859
♪I've paid every cost♪

00:16:18.859 --> 00:16:21.933
♪so all that shots I call♪

00:16:21.933 --> 00:16:23.628
♪who are you to doubt it?♪

00:16:23.628 --> 00:16:25.590
♪many floors in entertainment♪

00:16:25.590 --> 00:16:28.011
♪I bear my soul
'fore it's naked♪

00:16:28.011 --> 00:16:30.398
♪too many dreams now faded♪

00:16:30.398 --> 00:16:33.878
♪they're saying
I'll never make it♪

00:16:33.878 --> 00:16:36.000
♪and I should fold my cards♪

00:16:36.000 --> 00:16:38.551
♪damn, I've come too far♪

00:16:38.551 --> 00:16:41.294
♪I shine above them all♪

00:16:41.294 --> 00:16:43.853
♪and everything I love,
Man, I got it♪

00:16:43.853 --> 00:16:45.302
Thanks for the love,
Forest Projects.

00:16:45.302 --> 00:16:46.800
We out of here.

00:16:46.800 --> 00:16:49.490
- I told y'all
I was gonna be crazy.

00:16:49.490 --> 00:16:51.310
You didn't believe me.

00:16:51.984 --> 00:16:53.500
I told you.

00:16:54.966 --> 00:16:55.923
MARCELLA PARADISE:
Speaking and talking

00:16:55.923 --> 00:16:56.940
to other people,

00:16:56.940 --> 00:16:58.940
Listening
to other people lectures,

00:16:58.940 --> 00:17:02.730
saying where they came from
and from where you came from,

00:17:03.292 --> 00:17:04.148
we're gonna miss it.

00:17:04.148 --> 00:17:04.961
- Yeah.

00:17:06.000 --> 00:17:07.050
- Yeah.

00:17:07.050 --> 00:17:08.339
- We ain't feel it yet.

00:17:08.339 --> 00:17:10.559
We ain't feel it yet,
but it's gonna bring some tears.

00:17:10.559 --> 00:17:12.579
It's gonna bring some tears
here.

00:17:12.579 --> 00:17:14.512
- 'Cause that means
the people go.

00:17:14.512 --> 00:17:17.049
- Right, and it's just gonna be
something loss here.

00:17:17.049 --> 00:17:18.940
Just gonna be
like someone die.

00:17:18.940 --> 00:17:19.940
- Mm-hmm.

00:17:19.940 --> 00:17:23.076
- Now I understand
what a monument means.

00:17:23.076 --> 00:17:28.980
It's something that stays in
your heart and in your memory,

00:17:28.980 --> 00:17:31.423
because they only have it once.

00:17:31.423 --> 00:17:32.935
- Yeah.