[Script Info]
Title: 
[Events]
Format: Layer, Start, End, Style, Name, MarginL, MarginR, MarginV, Effect, Text
Dialogue: 0,0:00:11.32,0:00:14.12,Default,,0000,0000,0000,,IÑIGO MANGLANO-OVALLE:\NIf art for me is a platform from which to speak,
Dialogue: 0,0:00:14.12,0:00:15.68,Default,,0000,0000,0000,,but not tell you something?
Dialogue: 0,0:00:15.68,0:00:17.02,Default,,0000,0000,0000,,That’s good.
Dialogue: 0,0:00:26.36,0:00:31.56,Default,,0000,0000,0000,,And if that’s a way in which I give you a \Nplatform from which to think and debate it,
Dialogue: 0,0:00:31.56,0:00:37.39,Default,,0000,0000,0000,,that’s even better, because ultimately \Nart for me does not reside in the object,
Dialogue: 0,0:00:37.68,0:00:40.75,Default,,0000,0000,0000,,it resides in what’s said about the object.
Dialogue: 0,0:00:45.20,0:00:47.55,Default,,0000,0000,0000,,All my work, even the most formal work, has...
Dialogue: 0,0:00:48.62,0:00:52.56,Default,,0000,0000,0000,,an underlying politics to it.
Dialogue: 0,0:00:54.40,0:00:57.53,Default,,0000,0000,0000,,But I don’t want to reveal my position.
Dialogue: 0,0:01:01.20,0:01:03.50,Default,,0000,0000,0000,,In LE BAISER or “the Kiss”
Dialogue: 0,0:01:04.38,0:01:10.12,Default,,0000,0000,0000,,I’m washing windows in Mies van der Rohe’s \NFansworth House out in Plano, Illinois.
Dialogue: 0,0:01:10.12,0:01:16.52,Default,,0000,0000,0000,,The camera outside is always mic-ed to \Nthe sound of the squeegee on the glass.
Dialogue: 0,0:01:17.28,0:01:21.48,Default,,0000,0000,0000,,And it’s very sort of ambient in \None way and then very physical.
Dialogue: 0,0:01:21.48,0:01:26.26,Default,,0000,0000,0000,,The squeegee squeaks and \Nsarcastically kisses the building.
Dialogue: 0,0:01:26.26,0:01:27.36,Default,,0000,0000,0000,,(MUSIC)
Dialogue: 0,0:01:27.36,0:01:31.60,Default,,0000,0000,0000,,Whenever the camera is inside the \Npane of glass or inside the building,
Dialogue: 0,0:01:31.60,0:01:34.48,Default,,0000,0000,0000,,there’s an ethereal sort of electronic music
Dialogue: 0,0:01:34.48,0:01:39.36,Default,,0000,0000,0000,,which is a single moment of a \Nguitar solo by the band KISS,
Dialogue: 0,0:01:39.76,0:01:42.96,Default,,0000,0000,0000,,and then that little guitar, nanosecond,
Dialogue: 0,0:01:42.96,0:01:49.50,Default,,0000,0000,0000,,is stretched to make the sound piece or \Nthe score for all the interior shots.
Dialogue: 0,0:01:50.80,0:01:54.88,Default,,0000,0000,0000,,I have a strong connection \Nto architecture in my work.
Dialogue: 0,0:01:54.88,0:01:59.07,Default,,0000,0000,0000,,At a very young age I was taken by \Nmy parents to see Mies’ architecture.
Dialogue: 0,0:01:59.92,0:02:05.88,Default,,0000,0000,0000,,For me, on one level, the piece was just \Nabout visiting a shrine of modernity.
Dialogue: 0,0:02:05.88,0:02:10.40,Default,,0000,0000,0000,,It was about trying to figure out a \Nway to actually touch the building.
Dialogue: 0,0:02:12.32,0:02:14.12,Default,,0000,0000,0000,,You’re three things as the actor.
Dialogue: 0,0:02:14.12,0:02:17.82,Default,,0000,0000,0000,,You’re artist, you’re \Nlaborer, and you’re architect.
Dialogue: 0,0:02:18.92,0:02:21.00,Default,,0000,0000,0000,,You’re artist because you’re making the film
Dialogue: 0,0:02:21.00,0:02:23.20,Default,,0000,0000,0000,,and because sometimes when \Nyou’re washing the windows
Dialogue: 0,0:02:23.20,0:02:29.40,Default,,0000,0000,0000,,the camera is watching your hand make a gesture.
Dialogue: 0,0:02:29.40,0:02:32.100,Default,,0000,0000,0000,,Almost a painting gesture across the pane.
Dialogue: 0,0:02:33.60,0:02:36.44,Default,,0000,0000,0000,,You’re also just simply washing a window.
Dialogue: 0,0:02:36.44,0:02:38.04,Default,,0000,0000,0000,,So it’s mundane.
Dialogue: 0,0:02:38.04,0:02:41.23,Default,,0000,0000,0000,,And, then you’re outside the \Nbuilding tending to its form.
Dialogue: 0,0:02:41.52,0:02:43.04,Default,,0000,0000,0000,,So you’re the architect.
Dialogue: 0,0:02:43.04,0:02:48.72,Default,,0000,0000,0000,,And inside is a young woman \Nspinning some discs on a platform
Dialogue: 0,0:02:48.72,0:02:51.92,Default,,0000,0000,0000,,with headphones being separated by the…
Dialogue: 0,0:02:51.92,0:02:55.00,Default,,0000,0000,0000,,a thin skin of transparency.
Dialogue: 0,0:02:55.00,0:02:57.61,Default,,0000,0000,0000,,But ultimately total separation.
Dialogue: 0,0:02:58.08,0:03:00.84,Default,,0000,0000,0000,,The female actor at one moment in the piece
Dialogue: 0,0:03:00.84,0:03:04.18,Default,,0000,0000,0000,,actually raises her eyes and \Nlooks straight into the camera,
Dialogue: 0,0:03:05.48,0:03:09.40,Default,,0000,0000,0000,,thereby looks into the viewer of the \Ninstallation and acknowledges them or says,
Dialogue: 0,0:03:09.40,0:03:12.64,Default,,0000,0000,0000,,I see you and that’s the one moment for me that
Dialogue: 0,0:03:12.64,0:03:15.26,Default,,0000,0000,0000,,she’s able to penetrate through the architecture.
Dialogue: 0,0:03:18.08,0:03:20.84,Default,,0000,0000,0000,,Of course LE BAISER is about love,
Dialogue: 0,0:03:20.84,0:03:23.56,Default,,0000,0000,0000,,but it’s a kind of restrained love.
Dialogue: 0,0:03:31.44,0:03:34.30,Default,,0000,0000,0000,,I thought what we would do \Nis run through the edit.
Dialogue: 0,0:03:36.92,0:03:40.92,Default,,0000,0000,0000,,The School of Architecture \Nin Chicago auctioned off
Dialogue: 0,0:03:40.92,0:03:44.68,Default,,0000,0000,0000,,breaking the windows at the \NMies van der Rohe’s Crown Hall.
Dialogue: 0,0:03:44.68,0:03:47.71,Default,,0000,0000,0000,,They were going to renovate, put new glass in.
Dialogue: 0,0:03:49.48,0:03:56.66,Default,,0000,0000,0000,,As it turns out, the winner of the auction \Nis Mies’s grandson who is also an architect.
Dialogue: 0,0:03:57.98,0:04:00.96,Default,,0000,0000,0000,,I was interested in this whole \Nnotion of almost like patricide,
Dialogue: 0,0:04:00.96,0:04:05.00,Default,,0000,0000,0000,,you know the son breaking the father’s temple.
Dialogue: 0,0:04:17.84,0:04:20.88,Default,,0000,0000,0000,,The show in New York is a show that I think is
Dialogue: 0,0:04:20.88,0:04:23.52,Default,,0000,0000,0000,,kind of difficult to negotiate
Dialogue: 0,0:04:23.52,0:04:29.72,Default,,0000,0000,0000,,because there is no apparent sort of common theme.
Dialogue: 0,0:04:32.76,0:04:35.88,Default,,0000,0000,0000,,I’ve been wanting to make \Nthis umbrella for a long time.
Dialogue: 0,0:04:35.88,0:04:40.96,Default,,0000,0000,0000,,When you actually look at an umbrella, \Nthere’s so many complex curves in that fabric.
Dialogue: 0,0:04:40.96,0:04:44.04,Default,,0000,0000,0000,,There are so many parabolic equations.
Dialogue: 0,0:04:44.04,0:04:46.16,Default,,0000,0000,0000,,It’s very much like a flower.
Dialogue: 0,0:04:46.16,0:04:50.00,Default,,0000,0000,0000,,That’s probably one of the best \Ndesigns out there in the world.
Dialogue: 0,0:04:53.88,0:05:00.20,Default,,0000,0000,0000,,I enlisted the help of a fabricator that \Ndoes prototypes for stealth bombers.
Dialogue: 0,0:05:00.96,0:05:02.68,Default,,0000,0000,0000,,It’s called BULLETPROOF UMBRELLA.
Dialogue: 0,0:05:02.68,0:05:04.36,Default,,0000,0000,0000,,And it’s exactly that.
Dialogue: 0,0:05:04.36,0:05:09.56,Default,,0000,0000,0000,,It’s made out of graphite and \NKevlar and space age materials.
Dialogue: 0,0:05:09.56,0:05:14.12,Default,,0000,0000,0000,,So I think it actually responds in \Nmany ways to the climate of our times.
Dialogue: 0,0:05:14.12,0:05:16.44,Default,,0000,0000,0000,,Although it does it very quietly.
Dialogue: 0,0:05:17.00,0:05:19.24,Default,,0000,0000,0000,,My mother would freak out.
Dialogue: 0,0:05:19.24,0:05:20.94,Default,,0000,0000,0000,,She’s from Bogotá and…
Dialogue: 0,0:05:20.94,0:05:27.36,Default,,0000,0000,0000,,and an open umbrella indoors is like \Nbad luck for the rest of your life.
Dialogue: 0,0:05:29.40,0:05:33.24,Default,,0000,0000,0000,,The jack, very much like the \Numbrella takes an every day object
Dialogue: 0,0:05:33.24,0:05:38.32,Default,,0000,0000,0000,,and sort of scales it up \Nand deforms one axis of it.
Dialogue: 0,0:05:38.32,0:05:40.14,Default,,0000,0000,0000,,What you end up having is this,
Dialogue: 0,0:05:40.14,0:05:46.55,Default,,0000,0000,0000,,it’s almost like missile that points up \Nand almost touches the ceiling itself.
Dialogue: 0,0:05:50.24,0:05:54.40,Default,,0000,0000,0000,,There are many connections between \Nthese things and I think it’s just,
Dialogue: 0,0:05:54.40,0:05:57.80,Default,,0000,0000,0000,,for me important not to make it readily apparent.
Dialogue: 0,0:05:58.72,0:06:02.84,Default,,0000,0000,0000,,This sort of troublesome \Ncondition is what I’m looking for.
Dialogue: 0,0:06:03.98,0:06:07.82,Default,,0000,0000,0000,,On a very, sort of, formal sense, \Nthe exhibition is all about color.
Dialogue: 0,0:06:09.36,0:06:13.68,Default,,0000,0000,0000,,So the red film on the window \Nof the gallery is a work itself.
Dialogue: 0,0:06:13.68,0:06:17.52,Default,,0000,0000,0000,,It’s called FROM RED TO ORANGE AND ORANGE TO RED.
Dialogue: 0,0:06:17.52,0:06:21.55,Default,,0000,0000,0000,,Going from high alert to not so high alert.
Dialogue: 0,0:06:28.20,0:06:35.64,Default,,0000,0000,0000,,I’ve been very interested in weather patterns that \Noccur both inside and outside of architecture.
Dialogue: 0,0:06:35.64,0:06:37.56,Default,,0000,0000,0000,,In the case of RANDOM SKY in Chicago,
Dialogue: 0,0:06:37.56,0:06:41.16,Default,,0000,0000,0000,,the weather station is outside \Nand takes the temperature,
Dialogue: 0,0:06:41.16,0:06:44.08,Default,,0000,0000,0000,,barometric pressure, wind speed, wind direction.
Dialogue: 0,0:06:44.08,0:06:48.68,Default,,0000,0000,0000,,All these streams of data connect \Ndirectly to a set of computers
Dialogue: 0,0:06:48.68,0:06:54.90,Default,,0000,0000,0000,,that are running a program that generates \Nthese blue and white scan lines.
Dialogue: 0,0:06:56.20,0:07:01.00,Default,,0000,0000,0000,,When I decided to do this \Nproject I met Mark Hereld,
Dialogue: 0,0:07:01.00,0:07:04.38,Default,,0000,0000,0000,,an astrophysicist at Argon National Labs.
Dialogue: 0,0:07:05.35,0:07:09.20,Default,,0000,0000,0000,,MARK HERELD: I was asked originally \Nto help the Hyde Park Arts Center
Dialogue: 0,0:07:09.20,0:07:12.03,Default,,0000,0000,0000,,figure out how to build this façade.
Dialogue: 0,0:07:13.08,0:07:17.08,Default,,0000,0000,0000,,We have a large effort in what’s \Ncalled scientific visualization,
Dialogue: 0,0:07:17.08,0:07:21.40,Default,,0000,0000,0000,,we think about ways to sort of \Ntame these herds of computers
Dialogue: 0,0:07:21.40,0:07:24.20,Default,,0000,0000,0000,,that are intended present environments
Dialogue: 0,0:07:24.20,0:07:26.76,Default,,0000,0000,0000,,that are large enough that \Npeople can step into them,
Dialogue: 0,0:07:26.76,0:07:30.28,Default,,0000,0000,0000,,become directly involved with \Nwhat’s being put out on the screen.
Dialogue: 0,0:07:30.28,0:07:36.12,Default,,0000,0000,0000,,The outside world is coupling \Nto this internal universe.
Dialogue: 0,0:07:36.72,0:07:40.17,Default,,0000,0000,0000,,So there is a kind of little \Nbit of a living ecology there.
Dialogue: 0,0:07:41.90,0:07:45.64,Default,,0000,0000,0000,,MANGLANO-OVALLE: We got to a certain \Npoint where I needed to consider sound,
Dialogue: 0,0:07:45.64,0:07:48.48,Default,,0000,0000,0000,,and in this case I worked with a young artist
Dialogue: 0,0:07:48.48,0:07:49.76,Default,,0000,0000,0000,,by the name of Rick Gribenas
Dialogue: 0,0:07:49.76,0:07:52.15,Default,,0000,0000,0000,,who is an artist as well as a composer.
Dialogue: 0,0:07:54.74,0:07:57.68,Default,,0000,0000,0000,,RICK GRIBENAS: RANDOM SKY is really \Njust an examination of this building
Dialogue: 0,0:07:57.68,0:08:00.52,Default,,0000,0000,0000,,and its architecture and the \Nspace that is contained within it
Dialogue: 0,0:08:00.52,0:08:02.13,Default,,0000,0000,0000,,and the space that kind of surrounds it.
Dialogue: 0,0:08:03.32,0:08:04.88,Default,,0000,0000,0000,,It’s definitely an exploration.
Dialogue: 0,0:08:04.88,0:08:06.72,Default,,0000,0000,0000,,It’s a, you know, the kind of great lengths that
Dialogue: 0,0:08:06.72,0:08:09.36,Default,,0000,0000,0000,,we as humans go through to kind \Nof understand our environment
Dialogue: 0,0:08:09.36,0:08:11.82,Default,,0000,0000,0000,,and kind of adjust our environment.
Dialogue: 0,0:08:12.85,0:08:16.72,Default,,0000,0000,0000,,MANGLANO-OVALLE: RANDOM SKY \Naddresses that idea of the arbitrary
Dialogue: 0,0:08:16.72,0:08:19.52,Default,,0000,0000,0000,,or the randomness or the uncontrollable,
Dialogue: 0,0:08:19.52,0:08:23.67,Default,,0000,0000,0000,,the impossibility of our desire for stability.
Dialogue: 0,0:08:28.36,0:08:31.08,Default,,0000,0000,0000,,CLOUD PROTOTYPE #1 was a thunderstorm
Dialogue: 0,0:08:31.08,0:08:36.70,Default,,0000,0000,0000,,that was captured by the department of \Natmospheric sciences at University of Illinois.
Dialogue: 0,0:08:38.00,0:08:41.84,Default,,0000,0000,0000,,I watched the three-dimensional \Ndata development as a storm
Dialogue: 0,0:08:41.84,0:08:44.35,Default,,0000,0000,0000,,and at a certain moment I said, “Right there.
Dialogue: 0,0:08:45.00,0:08:46.59,Default,,0000,0000,0000,,That’s the moment I want.”
Dialogue: 0,0:08:47.84,0:08:49.72,Default,,0000,0000,0000,,It’s about stopping time.
Dialogue: 0,0:08:49.72,0:08:52.86,Default,,0000,0000,0000,,It was just before the storm erupts.
Dialogue: 0,0:08:55.92,0:08:58.27,Default,,0000,0000,0000,,Capturing ephemera is an impossibility.
Dialogue: 0,0:08:59.64,0:09:01.80,Default,,0000,0000,0000,,And in the end you really \Nhaven’t captured ephemera,
Dialogue: 0,0:09:01.80,0:09:03.19,Default,,0000,0000,0000,,you’ve made a sculpture.
Dialogue: 0,0:09:07.64,0:09:11.40,Default,,0000,0000,0000,,The space between things is just as important
Dialogue: 0,0:09:11.40,0:09:15.40,Default,,0000,0000,0000,,or more important than the \Nspace that things occupy.
Dialogue: 0,0:09:16.32,0:09:18.24,Default,,0000,0000,0000,,Once you enter the exhibition,
Dialogue: 0,0:09:18.24,0:09:22.08,Default,,0000,0000,0000,,this little infrared video \Nof my son at five months old
Dialogue: 0,0:09:22.08,0:09:25.16,Default,,0000,0000,0000,,is neglected by you because \Nas soon as you walk in,
Dialogue: 0,0:09:25.16,0:09:27.41,Default,,0000,0000,0000,,you see the iceberg in the cloud.
Dialogue: 0,0:09:30.44,0:09:34.24,Default,,0000,0000,0000,,Another sculpture is so \Nminiscule you can step on it.
Dialogue: 0,0:09:34.24,0:09:37.08,Default,,0000,0000,0000,,Red Fist and it’s in a central location,
Dialogue: 0,0:09:37.08,0:09:39.65,Default,,0000,0000,0000,,it’s dismissed by the viewer.
Dialogue: 0,0:09:40.52,0:09:44.88,Default,,0000,0000,0000,,Red Fist actually came about playing \Nwith my son a year-old with Play dough,
Dialogue: 0,0:09:44.88,0:09:48.23,Default,,0000,0000,0000,,it’s all about just grabbing \Nthings and holding them.
Dialogue: 0,0:09:48.76,0:09:50.20,Default,,0000,0000,0000,,So I would roll little balls
Dialogue: 0,0:09:50.20,0:09:51.40,Default,,0000,0000,0000,,and he would grab them
Dialogue: 0,0:09:51.40,0:09:52.32,Default,,0000,0000,0000,,and we squished them
Dialogue: 0,0:09:52.32,0:09:54.08,Default,,0000,0000,0000,,and his hand would open up
Dialogue: 0,0:09:54.08,0:09:56.48,Default,,0000,0000,0000,,and I would see this glorious, like,
Dialogue: 0,0:09:56.48,0:10:00.00,Default,,0000,0000,0000,,shape that’s made by his fist.
Dialogue: 0,0:10:01.76,0:10:04.80,Default,,0000,0000,0000,,SEARCH was a piece where the \Narchitecture of the site,
Dialogue: 0,0:10:04.80,0:10:08.68,Default,,0000,0000,0000,,this bullfight ring down in \NTijuana sort of called it forth.
Dialogue: 0,0:10:08.68,0:10:13.70,Default,,0000,0000,0000,,I mean the bullfight ring already looked \Nlike a speaker facing up into the sky.
Dialogue: 0,0:10:16.92,0:10:19.84,Default,,0000,0000,0000,,The bullfight ring was \Nconverted into a radio telescope
Dialogue: 0,0:10:19.84,0:10:24.88,Default,,0000,0000,0000,,that would search for the real aliens only \Nfifty meters south of the U.S. border.
Dialogue: 0,0:10:27.88,0:10:29.08,Default,,0000,0000,0000,,And for me it was a joke.
Dialogue: 0,0:10:29.08,0:10:31.96,Default,,0000,0000,0000,,I wanted to do a piece about alienation
Dialogue: 0,0:10:31.96,0:10:34.76,Default,,0000,0000,0000,,and about UFOs and about the alien
Dialogue: 0,0:10:34.76,0:10:36.01,Default,,0000,0000,0000,,and about immigration.
Dialogue: 0,0:10:40.04,0:10:44.68,Default,,0000,0000,0000,,When I first came to United States as a baby,
Dialogue: 0,0:10:44.68,0:10:48.40,Default,,0000,0000,0000,,you know I came in as a resident alien.
Dialogue: 0,0:10:48.40,0:10:52.20,Default,,0000,0000,0000,,And SEARCH was titled SEARCH (EN BÚSQUEDA),
Dialogue: 0,0:10:52.20,0:10:55.15,Default,,0000,0000,0000,,the subtitle was Searching for the Real Aliens.
Dialogue: 0,0:10:56.56,0:11:03.87,Default,,0000,0000,0000,,In Tijuana everybody from cab drivers \Nto artists to politicians got the joke.
Dialogue: 0,0:11:04.92,0:11:08.52,Default,,0000,0000,0000,,I grew up with parents that were always
Dialogue: 0,0:11:08.52,0:11:14.64,Default,,0000,0000,0000,,having to shift the family from \NMadrid to Bogotá to the United States,
Dialogue: 0,0:11:14.64,0:11:17.76,Default,,0000,0000,0000,,so the world was very small at a very young age
Dialogue: 0,0:11:17.76,0:11:22.17,Default,,0000,0000,0000,,and I almost had to learn that there were borders.
Dialogue: 0,0:11:24.12,0:11:26.08,Default,,0000,0000,0000,,The General Service Administration asked me
Dialogue: 0,0:11:26.08,0:11:30.92,Default,,0000,0000,0000,,to propose a work for the Immigration \NNaturalization Service Building.
Dialogue: 0,0:11:30.92,0:11:33.08,Default,,0000,0000,0000,,Now it’s part of Homeland Security.
Dialogue: 0,0:11:33.08,0:11:34.36,Default,,0000,0000,0000,,I actually like the idea,
Dialogue: 0,0:11:34.36,0:11:37.04,Default,,0000,0000,0000,,because a whole host of \Npeople that I know have been
Dialogue: 0,0:11:37.04,0:11:40.53,Default,,0000,0000,0000,,through that building as what they call clients.
Dialogue: 0,0:11:41.36,0:11:44.80,Default,,0000,0000,0000,,So LA TORMENTA, these two clouds, or THE STORM,
Dialogue: 0,0:11:44.80,0:11:47.48,Default,,0000,0000,0000,,there’s a kind of critique that’s going on there
Dialogue: 0,0:11:47.48,0:11:50.36,Default,,0000,0000,0000,,because it’s a storm system that arrives
Dialogue: 0,0:11:50.36,0:11:56.64,Default,,0000,0000,0000,,and historically all waves of \Nimmigration to the U.S. have been storms.
Dialogue: 0,0:11:56.64,0:12:00.04,Default,,0000,0000,0000,,And have gone through \Nturbulence, upon their arrival,
Dialogue: 0,0:12:00.04,0:12:02.08,Default,,0000,0000,0000,,and have caused turbulence
Dialogue: 0,0:12:02.08,0:12:06.20,Default,,0000,0000,0000,,and all of those waves come \Nwith a great deal of hope,
Dialogue: 0,0:12:06.20,0:12:08.18,Default,,0000,0000,0000,,and a great deal of anxiety.
Dialogue: 0,0:12:09.23,0:12:11.08,Default,,0000,0000,0000,,And that’s what a thunderstorm is.
Dialogue: 0,0:12:11.08,0:12:17.30,Default,,0000,0000,0000,,It’s one of the most destructive \Nand most productive events.
Dialogue: 0,0:12:18.96,0:12:20.80,Default,,0000,0000,0000,,It was about the duality of that,
Dialogue: 0,0:12:20.80,0:12:22.93,Default,,0000,0000,0000,,and duality of hope and anxiety
Dialogue: 0,0:12:23.96,0:12:30.10,Default,,0000,0000,0000,,and the fact that the piece in a \Nsense reflects its public in a way,
Dialogue: 0,0:12:31.75,0:12:33.84,Default,,0000,0000,0000,,you know that they are the storm.
Dialogue: 0,0:12:33.84,0:12:36.72,Default,,0000,0000,0000,,La Tormenta somos nosotros.