00:11 And if you look at my track record
00:13 The idea of time has always been very present, ever since I started.
00:18 to work on what I write as well as what I do, so at a certain point in time
00:22 determined, what a way, how can you talk about time, how can you
00:27 can represent the time that exists so
00:29 even, I mean, how can it be represented, how can I work plastically?
00:33 So I thought that's the only way I can see
00:37 with a lot of inverted commas the time is for the tracks it leaves then
00:42 a body naturally has been all your trajectory and mine
00:47 is written in my body.
00:49 And then it decided to be fractal time through my own aging,
00:56 before even I remember a painter, for example, who
00:59 did other things, a painter had to be a painter and a sculptor a sculptor a sculptor
01:03 and a musician musician. Nowadays even musicians make drawings.
01:05 But nowadays, for example, it's very rare nowadays to find still people
01:06 but already most of the people are
01:09 take pictures, make video, make paintings and even sculpture.
01:14 Everything is related to everything. Happily, as in the universe, more and more of it is related.
01:19 we learn that we are all dependent on each other, that everything is related to everything and in the
01:23 art as well. It's not that I've forced myself to do this and this too.
01:24 if I make performance, if I make drawings, if I make gestures, if I work
01:29 with the prime numbers. One thing led me to the other, I mean, I was
01:37 suddenly something happens.
01:40 I mean, something happens that strikes you that you say well, something has to be done, something has to be done.
01:44 you have to react. And then I say well how can I react as I'm an artist?
01:45 So then I say let's see if I can come up with an idea, if I have an idea to protest against
01:47 this, to say this, to understand.
01:49 And if it occurs to you, you do it. And it turns out that you've got a text, or you've got
01:54 you've got a performance, or you've got a plastic work, but you've got a video.
01:59 I don't care about the technique, I mean, the only thing I'm interested in is
02:00 That's why my mother used to say art, but not for art's sake.
02:04 It's just that it's not your touch, because we're interested in everything.
02:08 From then on, everything, everything, everything, all the literature, all the theatre, everything that was
02:12 and neutral. I'm just stupid.
02:14 And I always say in art, I'm a you who touches.
02:17 I mean, I don't think, you have to be me in art, it's the only one.
02:22 space of freedom that I have.
02:24 I mean, I just want to do this.
02:26 It's like I hardly know how to do anything, I've got to learn how to do it.
02:30 I don't know, and sometimes it requires a technique that I don't have, for example, video.
02:34 Then I have to go to a third person who knows the technique and who can
02:39 help me do it. I do it exactly.
02:40 So you're walking and you're on your way.
02:44 Walker there is no path, you make the path as you go.
02:47 I perfectly remember this poem by Machado Caminante no hay camino.
02:50 I've always had it here.
02:53 So if you don't really walk, there is no road, you make the road.
02:58 And that's why I have a lot of dreams.
03:01 I love to walk, but you see I have a lot of people, I mean, where I have a lot of dreams.
03:06 you walk, where you go, if there's one of them that makes the way
03:13 Exactly the same. But on performance first.
03:16 In the performance there are many times, there are many spaces, there's the mental space, there's
03:20 the physical space and there are many presences.
03:23 And it's also one of the things that I'm interested in.
03:27 performance in the theatre, for example, you tell me in a music concert,
03:32 if somebody gives a bad note or the actor or the actress forgets
03:37 the text, it's a drama, it's a tragedy performance, as I understand it.
03:41 No, the performance is everything that happened, it's part of the action.
03:46 and it's all valid.
03:48 Everything is valid even if it's noval, even if it's bad, even if it's theoretically
03:54 it affects the la es, on the la es, on
03:59 the development of the people that can be considered in a negative way.
04:03 When I do an action I am psychologically prepared.
04:07 Accepting everything that happened, I mean, what happens is more important.
04:13 for me than what I was planning to do.
04:15 So, if they let me do from the beginning to the end, I do what I thought I would do.
04:20 If I don't decide to change it on the spot because it's in the performance,
04:25 is the freedom of action.
04:27 In a theatre you have a text in a music which is a score and even
04:32 in theatre and in contemporary music there are boundaries within
04:38 of chance. This edition you have to throw these away and not
04:39 you understand them, then the person is not the person, it's
04:41 you can improvise, you can change, you can do whatever you want.
04:46 I always say I know what I was thinking of doing, but I don't.
04:50 I know what I'm going to do, because the accident that another influence of Cage's
04:55 that he said to me one day talking about this in the following way part of the work
05:00 and for me this was, I mean important.
05:03 I had always thought that I would accept everything, but I didn't realise to what extent...
05:07 the accident could be interesting.
05:14 That's what I like in a space facility that is generally penetrable.
05:18 It's that people have all the perspectives of the work from here, from here,
05:23 that they can go in or go out, look at the museums.
05:26 It's the ideal way for me to see a work of an installation.
05:33 So first of all on the street, the street because you have an audience at
05:34 the best thing in life they're ever going to see a performance at the museum, or hear a play.
05:39 or a play, or a piece of music.
05:41 And they come across something in the street that interests me.
05:45 I'm interested in the risks that the street poses in every way.
05:50 I'm interested in an audience that is completely Birk.
05:53 For me it hasn't changed at all. And in fact when I do an action, I mean, I
05:55 I don't say never close your phones for tablets, there's no, no.
06:00 take pictures, no, it's just that I don't say absolutely nothing and I leave
06:04 people do, the pictures, the videos, whatever they want to do.
06:08 I freely make a proposition and I don't see why I'm going to
06:13 impose other things on people. What I do do, for example, if I need a space, I say
06:19 full stop. In other words, I do the work and people can interpret what I give them.
06:22 and all interpretations are valid.
06:25 is the reading of a work, of a Roman as of a tableau, like
06:28 of listening to music. This is the relationship that you establish with it.
06:31 and that relationship is purely personal.
06:34 And the artist? I in this case the only intelligent thing to do is to disappear.
06:40 and leave the dialogue to be established between the painting or the music or whatever.
06:44 and the work and the spectator.
06:46 Why you have to keep in mind that everything in experience and culture,
06:51 everything that this person experiences in front of a construction site, that is
06:56 in your projects, everything that is or everything that I could imagine.
06:59 And in that projection I can find things in the play that I hadn't
07:09 For example, this idea that there's now of putting in explaining all of the
07:13 the works, it terrifies me.
07:15 So, only interpretation.
07:18 That is, an interpretation of the work Las Meninas tuc.
07:19 The other thing, tac. So everybody understands the same thing.
07:23 It's true. The dictatorship of intelligence.
07:25 So, when I'm asked, for example, when I'm asked, for example, to please, that an explanation
07:30 of what I tell them, that they write it themselves.
07:33 Not me. I don't want to give any explanation, let them understand what they want.
07:38 If it's all the same to me and I don't think it's very good, it's not only the same to me.
07:42 I just think it's great that there are 10 different interpretations of a play.
07:46 except when I'm doing a play which is what I'm doing
07:51 call committed work or just when there's something, as I said to you
07:55 before, an event that I was against
07:58 women or against whoever, or a social situation that makes me
08:03 nervous and I say something has to be done, you can't tolerate this and that.
08:07 And in that case, when I'm lucky enough to have a good idea,
08:12 then I sacrifice everything to efficiency.
08:16 What I want you to understand is this.
08:18 What I want them to know is this, for example, that there are two dead in the Mediterranean.
08:22 Or like for example the feminicides.
08:24 There I sacrifice everything to efficiency, but as long as it's
08:36 I'm going to be a feminist, absolutely not.
08:40 Life has led me in the same way that it has led me to be an artist, it has led me to be an artist.
08:45 to be a feminist consciously and to pay attention to what
08:49 and try to collaborate, as far as possible, to make things change.
08:54 I went to the exhibitions and I counted in the collective ones, in the museums and I counted
08:59 how many women and how many men there were systematically.
09:02 And I've had some pretty unpleasant encounters with stewards and stewards.
09:07 and I've been told things like you just didn't find The Exorcist.
09:12 in its entirety? I mean, well, girl, if you'd asked me, I would have given you a list.
09:16 during the code. So it's that any situation,
09:18 any social issues, I mean, if we're not really
09:23 with our eyes wide open and really seeing
09:28 what's going on, it's coming down on us.
09:35 Today, because I've actually lived for many, many, many years.
09:38 from somebody else, doing a job for a living, because what I didn't want to do for any
09:43 way was for my artwork to feel like it was
09:47 and I would have to do things within the artistic realm that I didn't want to do for
09:52 to make a living. So it was easy for me.
09:55 I saw this from the beginning.
09:57 I make my living doing your work and I make my living in art what I want.
10:02 I don't ask for anything from anyone, no grant, no help, no exhibition, nothing.
10:06 Actually I live from my work, I work.
10:09 I'm 83 years old, almost 84, and I live off my work.
10:14 artistic. Maybe since I was 65,
10:25 In other words, art. And what's a rubini for?
10:27 A tap? What's the water for?
10:30 And what's the art for? I have no idea.
10:33 It's good for me.
10:35 Do you understand? I mean, it helps me to go on living, to make my head work,
10:40 to stimulate, I mean, to get rid of a lot of anxieties, I mean, to
10:44 I mean, it helps me to live, to endure life, to understand it, to
10:48 to have the feeling that in a way I act on certain situations.
10:53 It's commitment, it works for me. So I think maybe the people who watch it, maybe it works for them.
10:58 also and it serves me in a way to think about my ego
11:01 I know a lot of people who never entered a museum in their life,
11:05 who have never read a book of literature in their life who have never read a book of literature in their life who haven't
11:10 I've seen and they live and they think and they're good people, they're bad people.
11:15 and they do things. I don't know how to tell you this obligation of the
11:19 art doesn't interest me at all.
11:22 I find the contemplation of art very helpful.
11:26 I mean, I love going to see galleries, I love going to see museums,
11:30 I love to see what other people are doing.
11:32 I mean, it stimulates me, it helps me to live.
11:36 So I think a lot of people stimulate him from there, it helps him to live.
11:40 But no, this dictatorship of art doesn't interest me at all.
11:45 and the art gurus don't interest me either, you understand?
11:48 We already have enough of these
11:54 as rules that there are, that there is an imposed work, I understand, to practise
11:58 art. They don't interest me at all.
12:00 For me art is freedom, it's nothing.
12:04 Do you understand? Because art is that what they do in dictatorships, in
12:09 socialist realism, art or was it not art, what is it?
12:13 Do you understand? I mean, I'm not interested at all in all these definitions, right?
12:18 I mean, art is the freedom of doing, the freedom of interpreting, the freedom of
12:22 freedom to understand. And everything is a practice of freedom,
16:04 Yeah, I love to make models because it gives me a lot of it.
16:07 I have all the freedom. It's wonderful.
16:10 It gives me the freedom of experimentation, you know?
16:13 It gives me the freedom to play with space the way I want.
16:17 model you do what you want and the technical problems are solved as you want.
16:19 But in real life, technical problems sometimes take a lot of thinking to solve.
Tabakalera-denbora | Vincent Maraval
09:44
Tabakalera-denbora | Uxue Alberdi
08:14
Tabakalera-denbora | Ted Hope 08:53
Tabakalera-denbora | Susanna Tesconi
09:20
Tabakalera-denbora | Ricardo Díez Muiño
11:15
Tabakalera-denbora | Niño de Elche 08:48
Tabakalera-denbora | Maria Ptqk
09:47
Tabakalera-denbora | Marcos García
08:49
Tabakalera-denbora | Jone San Martín
10:07
Tabakalera-denbora | Jon Cazenave 07:43
Tabakalera-denbora | Javier Pérez Iglesias
07:49
Tabakalera-denbora | Isabel Herguera
11:12
Tabakalera-denbora | Helena Taberna
08:28
Tabakalera-denbora | Frédéric Martel 09:04
Tabakalera-denbora | Eva Sangiorgi
07:55
Tabakalera-denbora | Dea Kulumbegashvili 09:47