WEBVTT 00:00:08.316 --> 00:00:10.080 ANNOUNCER: Live in downtown St. Louis with more on   00:00:10.080 --> 00:00:11.920 our first story at six. NEWSCASTER: Washington   00:00:11.920 --> 00:00:15.822 University is sponsoring the event called The St. Louis Projection. 00:00:16.080 --> 00:00:20.520 In this case, the movie shows crime victims and inmates sharing their stories, 00:00:20.520 --> 00:00:22.109 showing only their hands. 00:00:22.560 --> 00:00:25.118 The building representing  the other parts of the body. 00:00:26.580 --> 00:00:30.120 KRZYSZTOF WODICZKO: In St. Louis I turn to the   00:00:30.120 --> 00:00:35.000 very beautifully designed building of the central public library. 00:00:35.440 --> 00:00:37.483 SPEAKER: Check, check, check. 00:00:39.719 --> 00:00:40.933 SPEAKER: Yeah, that’s very nice. 00:00:41.255 --> 00:00:45.720 WODICZKO: Inside the building,  participants were sitting  00:00:45.720 --> 00:00:49.749 with cameras pointed on the person’s hands. 00:00:51.230 --> 00:00:52.880 SPEAKER: Hi, my name is Diana. 00:00:52.880 --> 00:00:54.448 SPEAKER: Hi Diana. 00:00:54.448 --> 00:00:58.160 WODICZKO: Outside, it’s a kind of open mike. 00:00:58.160 --> 00:01:01.720 Anybody can come forward to  speak back to the building 00:01:01.720 --> 00:01:05.960 trying to prevent perpetuation of the murders, 00:01:05.960 --> 00:01:10.000 killing, and gun violence in St. Louis. 00:01:10.560 --> 00:01:17.320 This type of projection brings more opportunities for more people to join each other 00:01:17.320 --> 00:01:21.909 in an attempt to speak up and open up. 00:01:24.080 --> 00:01:28.321 Open up and share in public space, 00:01:28.600 --> 00:01:32.349 something that is usually  relegated to private domain. 00:01:34.047 --> 00:01:38.560 SPEAKER: We never expect  to bury our grandchildren, 00:01:38.560 --> 00:01:44.560 and when we do, it’s the most  horrible feeling in the world. 00:01:45.635 --> 00:01:48.500 SPEAKER: And when I see  Riley’s two little children,  00:01:49.034 --> 00:01:53.560 growing up, without their daddy, 00:01:53.560 --> 00:01:56.240 it just breaks my heart. 00:01:56.240 --> 00:01:56.881 SPEAKER: Yes. 00:01:58.880 --> 00:02:02.880 When it’s your loved one, it’s not an easy thing. 00:02:02.880 --> 00:02:04.232 You don’t forget. 00:02:07.585 --> 00:02:10.320 SPEAKER: Now that it’s been a couple years, 00:02:10.320 --> 00:02:15.280 how are you and your family handling birthdays, 00:02:15.280 --> 00:02:18.020 holidays, family get-togethers? 00:02:19.568 --> 00:02:21.520 SPEAKER: You always have that empty space, 00:02:21.520 --> 00:02:22.680 but it never goes away 00:02:22.680 --> 00:02:25.958 because there’s a hole in your  heart that nothing can ever fill it. 00:02:26.560 --> 00:02:29.960 People don’t have a clue of how we feel, 00:02:29.960 --> 00:02:32.520 because on the outside it looks like we’re okay, 00:02:32.520 --> 00:02:36.760 but on the inside we’re  slowly in little bit every day 00:02:36.760 --> 00:02:38.443 like we feel like we’re dying. 00:02:42.528 --> 00:02:48.360 SPEAKER: This eternal flame burns  in memory of Christopher King, 00:02:48.360 --> 00:02:53.054 age 20, murdered on August 26, 1986. 00:02:54.000 --> 00:02:56.447 It burns in memory of J.A. King, 00:02:56.920 --> 00:03:02.402 murdered on April 7, 1991, age 27. 00:03:03.240 --> 00:03:05.440 It burns in memory of Adam Enis.... 00:03:05.440 --> 00:03:08.842 WODICZKO: The Revolutionary battle on Bunker Hill 00:03:09.680 --> 00:03:14.160 somehow connected with the daily struggle of 00:03:14.160 --> 00:03:20.742 Charlestown residents who are living  in the shadow of this monument. 00:03:22.763 --> 00:03:27.383 Overlooking the area in which  on weekly or monthly basis 00:03:27.920 --> 00:03:30.760 someone was murdered, killed. 00:03:32.160 --> 00:03:38.080 So the battle perhaps continues  not that it should of course, 00:03:38.080 --> 00:03:44.940 but unfortunately it does for life,  liberty and pursuit of happiness. 00:03:46.294 --> 00:03:48.600 SPEAKER: When I was 17 my brother Kevin was found 00:03:48.600 --> 00:03:51.411 hanging in a prison cell, Bridgewater. 00:03:52.378 --> 00:03:55.098 The gangsters knew that he knew too much, 00:03:56.280 --> 00:03:57.578 and I believe that they killed him. 00:03:58.760 --> 00:04:00.597 It was made to look like a suicide. 00:04:02.080 --> 00:04:03.575 And it was never investigated. 00:04:04.800 --> 00:04:07.870 But everyone in the streets has  always told me that he was killed. 00:04:08.880 --> 00:04:14.000 We no a lot more in the streets than we  tell the outside world or the police. 00:04:14.000 --> 00:04:17.314 And everyone knows the truth  about things that go on. 00:04:18.840 --> 00:04:20.357 But we just keep quiet. 00:04:22.198 --> 00:04:28.800 WODICZKO: They eventually develop some  trust to break the code of silence. 00:04:28.800 --> 00:04:34.221 To open up and speak about what’s unspeakable. 00:04:36.220 --> 00:04:38.640 SPEAKER: I think a lot of you people wonder why… 00:04:38.640 --> 00:04:40.280 why am I up here. 00:04:40.280 --> 00:04:41.920 I’m no special person. 00:04:41.920 --> 00:04:44.021 Just an ordinary person, just like you. 00:04:45.160 --> 00:04:48.880 But all I can say is just  take a look at your family. 00:04:48.880 --> 00:04:50.600 The ones that you love. 00:04:50.600 --> 00:04:54.320 And what would you do if one  of them was taken from you? 00:04:54.320 --> 00:04:55.720 How would you fight back? 00:04:55.720 --> 00:04:58.800 Still try to have a heart that can still love, 00:04:58.800 --> 00:05:00.560 and be a person that can care. 00:05:00.560 --> 00:05:02.240 It’s not very easy. 00:05:02.240 --> 00:05:06.546 My son, Adam, all I can say is that  I love you, and I will do my best. 00:05:07.320 --> 00:05:09.019 And some day I’ll see you. 00:05:15.555 --> 00:05:17.560 WODICZKO: I need to make sketches. 00:05:17.560 --> 00:05:23.040 I need to make sure the body of  the speaker fits well the outline, 00:05:23.040 --> 00:05:26.000 the character of the body of the monument. 00:05:26.000 --> 00:05:28.680 So they both are integrated. 00:05:28.680 --> 00:05:31.880 But I realize with time that  there must be another reason why 00:05:31.880 --> 00:05:35.880 I’m preoccupying myself so  much with those drawings. 00:05:35.880 --> 00:05:40.355 I need to keep certain  distance from what people say. 00:05:42.440 --> 00:05:47.440 Somehow, the process of  making sketches keeps me sane. 00:05:47.440 --> 00:05:52.644 Because I can not relive each time what I hear. 00:05:53.267 --> 00:05:55.280 In case of anybody my position, 00:05:55.280 --> 00:06:01.852 it will trigger my own experiences  or perhaps even trauma. 00:06:03.120 --> 00:06:06.885 So I need to have something in between. 00:06:07.680 --> 00:06:12.576 Something in between for them  is the camera and the monument, 00:06:14.317 --> 00:06:18.785 and what it is for me, perhaps, the sketchbook. 00:06:22.520 --> 00:06:25.880 I receive Hiroshima Art Prize, 00:06:25.880 --> 00:06:31.386 the condition was that I will organize retrospective exhibition of my work. 00:06:32.160 --> 00:06:37.200 This gave me motivation to  do a large public project  00:06:37.200 --> 00:06:41.920 in Hiroshima I propose a projection. 00:06:41.920 --> 00:06:50.000 Which was to take place the night  after the anniversary of bombing. 00:06:51.038 --> 00:06:58.198 My mother being a Jew whose entire family was killed during ghetto uprising in Poland 00:06:58.520 --> 00:07:02.879 gave birth to me in the midst of all of this, 00:07:04.040 --> 00:07:07.720 my childhood was on the ruins of war. 00:07:07.720 --> 00:07:12.120 Physical, political, and perhaps moral, 00:07:12.120 --> 00:07:13.919 definitely psychological, 00:07:15.080 --> 00:07:20.080 so I started working on my  projection with this assumption. 00:07:20.080 --> 00:07:30.453 That we’re going to re-actualize one of  the few structures that survive bombing, 00:07:30.453 --> 00:07:32.440 that is just underneath of  the epicenter of explosion. 00:07:32.440 --> 00:07:36.840 To re-animate it with the voices and gestures of 00:07:36.840 --> 00:07:42.251 present day inhabitants of  Hiroshima from various generations. 00:07:46.920 --> 00:07:52.789 I started to talk to associations  of survivors of bombing. 00:07:53.520 --> 00:07:56.840 I need to quickly develop some trust, 00:07:56.840 --> 00:08:01.400 so they can really open up towards me. 00:08:01.400 --> 00:08:03.520 Without developing of trust, 00:08:03.520 --> 00:08:06.334 there is no possibility for my work. 00:08:07.600 --> 00:08:12.120 The participants could not speak very long, 00:08:12.120 --> 00:08:14.797 interrupted by their own tears. 00:08:20.817 --> 00:08:23.280 SPEAKER (in Japanese): I saw many dead  or dying children. It was horrible. 00:08:23.280 --> 00:08:29.440 WODICZKO: I seem to be working with people who managed to survive, 00:08:30.480 --> 00:08:37.920 and heal themselves to the point towards reconnecting with society, with others. 00:08:37.920 --> 00:08:42.760 Helping others to understand  at least a little bit, 00:08:42.760 --> 00:08:45.301 a small part of what they went through. 00:08:46.400 --> 00:08:51.171 To open up and share with  the world what is so painful. 00:08:55.840 --> 00:08:59.920 The memorial should be a vehicle through which 00:08:59.920 --> 00:09:04.280 the past and the future converge. 00:09:04.280 --> 00:09:12.092 The river became a graveyard for both  people and buildings in Hiroshima. 00:09:15.160 --> 00:09:22.948 As both a tragic witness but also  as a hope, because it’s moving. 00:09:24.560 --> 00:09:26.825 There is new water coming. 00:09:36.440 --> 00:09:40.360 Tijuana, it’s a border for many people 00:09:40.360 --> 00:09:43.880 who came from poor provinces 00:09:43.880 --> 00:09:48.101 who tried to advance their life moving north. 00:09:49.360 --> 00:09:53.550 This building is a very important  symbolic structure in Tijuana. 00:09:54.840 --> 00:09:57.400 It’s almost like a symbol of the city. 00:09:57.400 --> 00:09:58.920 Landmark. 00:10:04.480 --> 00:10:09.240 So here we have the kind of  variable television studio 00:10:09.240 --> 00:10:13.280 with camera and lights and microphone, 00:10:13.280 --> 00:10:19.396 to project the face with  precision onto the façade. 00:10:20.320 --> 00:10:25.280 So the camera would be always in the same position 00:10:25.280 --> 00:10:31.520 in relation to human head no matter  where this person is looking. 00:10:31.520 --> 00:10:38.184 So the boundary between architecture  and projected body would be blurred. 00:10:39.560 --> 00:10:42.734 The skin of the building  and the skin of the person 00:10:43.720 --> 00:10:47.920 will be background and  foreground at the same time. 00:10:47.920 --> 00:10:49.734 Will be shifting focus. 00:10:50.640 --> 00:10:56.430 In Tijuana, ninety percent of  labor are young women, girls. 00:10:57.440 --> 00:11:03.840 They work in ways that we don’t  even imagine some of them. 00:11:03.840 --> 00:11:08.131 The issues that were brought were taboo, 00:11:09.120 --> 00:11:14.300 were issues of incest, rape. 00:11:15.301 --> 00:11:19.539 SPANISH SPEAKER: He closed the  door and then came into the room. 00:11:21.248 --> 00:11:27.430 He grabbed me by force. He threw me on the bed. 00:11:27.586 --> 00:11:30.687 He covered my mouth. I could not scream. 00:11:32.106 --> 00:11:35.924 He abused me and he told me  that if I were to say anything, 00:11:35.924 --> 00:11:41.634 he would hurt my family, my  grandmother, my mother, my uncles. 00:11:42.160 --> 00:11:47.360 WODICZKO:  I think that people were there to  support what they were hearing, 00:11:47.360 --> 00:11:51.903 even if what they were hearing  and seeing was unbearable. 00:11:57.434 --> 00:12:02.658 SPANISH SPEAKER: Sometimes I have nightmares. 00:12:05.840 --> 00:12:08.555 That I am always there. 00:12:09.437 --> 00:12:12.919 That I can’t do anything. That no one can help me. 00:12:14.792 --> 00:12:17.631 WODICZKO:   Sometimes it’s easier to be honest 00:12:17.631 --> 00:12:20.200 speaking to thousands of people through monument 00:12:20.200 --> 00:12:23.200 than to tell the truth at home, 00:12:23.200 --> 00:12:24.667 to the closest person. 00:12:25.527 --> 00:12:29.098 SPANISH   SPEAKER: He hit us with the butt of his gun. 00:12:31.054 --> 00:12:35.648 We saw Hector lying there  on the ground, all bloody. 00:12:41.375 --> 00:12:44.709 We spoke to him but he didn’t answer. 00:12:47.260 --> 00:12:53.134 Then we told Wendy’s mother  that they had taken her away. 00:12:53.462 --> 00:12:57.312 She was found half-naked. The  doctor us she had been raped. 00:12:58.612 --> 00:13:01.176 She lasted two months in a coma. 00:13:15.344 --> 00:13:23.748 He had become a vegetable from  the blows he had received.