Two weeks ago I was in my studio in Paris, and the phone rang and I heard, "Hey, JR, you won the TED Prize 2011. You have to make a wish to save the world." I was lost. I mean, I can't save the world. Nobody can. The world is fucked up. Come on, you have dictators ruling the world, population is growing by millions, there's no more fish in the sea, the North Pole is melting and as the last TED Prize winner said, we're all becoming fat. (Laughter) Except maybe French people. Whatever. So I called back and I told her, "Look, Amy, tell the TED guys I just won't show up. I can't do anything to save the world." She said, "Hey, JR, your wish is not to save the world, but to change the world." "Oh, all right." (Laughter) "That's cool." I mean, technology, politics, business do change the world -- not always in a good way, but they do. What about art? Could art change the world?
Prije dva tjedna bio sam u svom studiju u Parizu, i telefon je zazvonio i čuo sam, "Hej, JR, osvojio si TED nagradu 2011. Moraš nešto zaželjeti kako bi spasio svijet." Bio sam izgubljen. Nisam mogao spasiti svijet; nitko ne može. Svijet je sjeban. Dajte, imate diktatore koji vladaju svijetom, stanovništvo raste u milijunima, nema više riba u moru, Sjeverni pol se otapa, i kao što je posljednji dobitnik TED nagrade rekao, svi mi postajemo debeli. (Smijeh) Osim možda Francuza. Svejedno. Stoga sam nazvao natrag i rekao sam joj, "Gledaj, Amy, reci TED momcima da se neću pojaviti. Ne mogu učiniti ništa da spasim svijet." Ona je rekla, "Hej, JR, tvoja želja nije spasiti svijet, već promijeniti svijet." "O, u redu." (Smijeh) "To je cool." Mislim, tehnologija, politika, poslovni svijet mijenjaju svijet -- ne uvijek na dobar način, ali mijenjaju ga. A što je s umjetnošću? Može li umjetnost promijeniti svijet?
I started when I was 15 years old. And at that time, I was not thinking about changing the world. I was doing graffiti -- writing my name everywhere, using the city as a canvas. I was going in the tunnels of Paris, on the rooftops with my friends. Each trip was an excursion, was an adventure. It was like leaving our mark on society, to say, "I was here," on the top of a building.
Započeo sam s 15 godina. I u ono vrijeme, nisam razmišljao o mijenjanju svijeta; Radio sam grafite -- pišući moje ime posvuda, koristeći grad kao platno. Odlazio sam u tunele Pariza, na krovove sa svojim prijateljima. Svako putovanje je bila ekskurzija, bila je avantura. Bilo je to kao ostavljanje našeg traga na društvu, da kažemo, "Bio sam ovdje," na vrhu te zgrade.
So when I found a cheap camera on the subway, I started documenting those adventures with my friends and gave them back as photocopies -- really small photos just that size. That's how, at 17 years old, I started pasting them. And I did my first "expo de rue," which means sidewalk gallery. And I framed it with color so you would not confuse it with advertising. I mean, the city's the best gallery I could imagine. I would never have to make a book and then present it to a gallery and let them decide if my work was nice enough to show it to people. I would control it directly with the public in the streets.
Dakle, kada sam pronašao jeftin fotoaparat u podzemnoj, počeo sam dokumentirati te avanture sa svojim prijateljima i davao bi ih natrag kao fotokopije -- doista male fotografije upravo te veličine. Tako sam ih, sa 17 godina starosti, počeo lijepiti. I održao sam svoj prvi ulični sajam, što znači galerija na pločniku. I uokvirio sam ih u boji kako ih ne biste mogli pomiješati s oglašavanjem. Mislim, grad je najbolja galerija koju mogu zamisliti. Nikada neću morati izraditi knjigu i zatim je prezentirati galeriji i dati im da odlučuju je li moj rad dovoljno lijep da ga se prikazuje ljudima. Kontrolirat ću to izravno s javnosti na ulicama.
So that's Paris. I would change -- depending on the places I would go -- the title of the exhibition. That's on the Champs-Elysees. I was quite proud of that one. Because I was just 18 and I was just up there on the top of the Champs-Elysees. Then when the photo left, the frame was still there.
Dakle, to je Pariz. Promijenio bih -- ovisno o mjestima gdje bih išao -- naslov izložbe. Ovo je na Champs-Elysees. Bio sam prilično ponosan na ovu. Jer mi je bilo samo 18 godina i bio sam tamo gore na vrhu Champs-Elysees. Zatim, kada je slika otišla, okvir je još uvijek bio tamo.
(Laughter)
(Smijeh)
November 2005: the streets are burning. A large wave of riots had broken into the first projects of Paris. Everyone was glued to the TV, watching disturbing, frightening images taken from the edge of the neighborhood. I mean, these kids, without control, throwing Molotov cocktails, attacking the cops and the firemen, looting everything they could in the shops. These were criminals, thugs, dangerous, destroying their own environment.
Studeni 2005: ulice gore. Veliki val pobuna se probio u prvi projekt Pariza. Svi su bili zalijepljeni za TV, gledajući uznemirujuće, zastrašujuće slike koje su snimljene na rubovima četvrti. Mislim, ta djeca, bez kontrole, bacaju Molotovljeve koktele, napadaju policajce i vatrogasce, pljačkaju sve što su mogli u trgovinama. To su bili kriminalci, lopovi, opasni koji su slijedili svoje okruženje.
And then I saw it -- could it be possible? -- my photo on a wall revealed by a burning car -- a pasting I'd done a year earlier -- an illegal one -- still there. I mean, these were the faces of my friends. I know those guys. All of them are not angels, but they're not monsters either. So it was kind of weird to see those images and those eyes stare back at me through a television.
I onda sam je ugledao -- je li to moguće? -- moja slika na zidu otkrivena od gorućeg automobila -- slika koju sam zalijepio godinu dana ranije -- ilegalna -- još uvijek tamo. Mislim, to su bila lica mojih prijatelja. Znam te momke. Svi oni nisu anđeli, ali nisu ni čudovišta. Dakle, bilo je nekako čudno vidjeti te slike i te oči koje gledaju u mene preko televizije.
So I went back there with a 28 mm lens. It was the only one I had at that time. But with that lens, you have to be as close as 10 inches from the person. So you can do it only with their trust. So I took full portraits of people from Le Bosquet. They were making scary faces to play the caricature of themselves. And then I pasted huge posters everywhere in the bourgeois area of Paris with the name, age, even building number of these guys. A year later, the exhibition was displayed in front of the city hall of Paris. And we go from thug images, who've been stolen and distorted by the media, who's now proudly taking over his own image. That's where I realized the power of paper and glue. So could art change the world?
Stoga sam se vratio tamo s 28 milimetarskim objektivom. Bio je to jedini koji sam imao u to vrijeme. Ali s tim objektivom, morate biti na 25 centimetara udaljenosti od te osobe. Dakle, možete to učiniti samo ako vam ona vjeruje. Stoga sam napravio četiri portreta ljudi iz Le Bosquet-a. Radili su zastrašujuće grimase kako bi napravili karikature iz sebe. I zatim sam zalijepio ogromne postere posvuda u buržujskim četvrtima Pariza s imenima, dobi, čak i brojevima zgrada tih momaka. Godinu dana kasnije, izložba je prikazana ispred gradske viječnice Pariza. I idemo od izrade fotografija, koje su mediji ukrali i iskrivili, do onoga koji sada s ponosom uzima svoju vlastitu sliku. Tada sam shvatio moć papira i ljepila. Dakle, može li umjetnost promijeniti svijet?
A year later, I was listening to all the noise about the Middle East conflict. I mean, at that time, trust me, they were only referring to the Israeli and Palestinian conflict. So with my friend Marco, we decided to go there and see who are the real Palestinians and who are the real Israelis. Are they so different? When we got there, we just went in the street, started talking with people everywhere, and we realized that things were a bit different from the rhetoric we heard in the media. So we decided to take portraits of Palestinians and Israelis doing the same jobs -- taxi-driver, lawyer, cooks. Asked them to make a face as a sign of commitment. Not a smile -- that really doesn't tell about who you are and what you feel. They all accepted to be pasted next to the other. I decided to paste in eight Israeli and Palestinian cities and on both sides of the wall. We launched the biggest illegal art exhibition ever. We called the project Face 2 Face.
Godinu dana kasnije, slušao sam svu tu buku oko sukoba na Bliskom istoku. Mislim, u to vrijeme, vjerujte mi, samo su naglašavali sukob između Izraela i Palestine. Dakle, s mojim prijateljom Marcom, odlučili smo otići tamo i vidjeti tko su pravi Palestinci i tko su pravi Izraelci. Jesu li oni toliko različiti? Kada smo došli tamo, otišli smo na ulice, počeli razgovarati s ljudima posvuda, i shvatili smo da su stvari pomalo drugačije od retorike koju smo čuli u medijima. Stoga smo odlučili uzeti portrete Palestinaca i Izraelaca kako rade iste poslove -- vozač taksija, odvjetnik, kuhar. Zamolili smo ih da naprave grimasu u znak predanosti. Ne osmijeh -- to uistinu ne pokazuje tko si i kako se osjećaš. Svi su prihvatili da ih se zalijepi jedan pored drugoga. Odlučio sam zalijepiti u osam Izraelskih i Palestinskih gradova i s obje strane zida. Lansirali smo najveću ilegalnu umjetničku izložbu ikad. Nazvali smo projekt Face 2 Face (Licem u lice).
The experts said, "No way. The people will not accept. The army will shoot you, and Hamas will kidnap you." We said, "Okay, let's try and push as far as we can." I love the way that people will ask me, "How big will my photo be?" "It will be as big as your house." When we did the wall, we did the Palestinian side. So we arrived with just our ladders and we realized that they were not high enough. And so Palestinians guys say, "Calm down. No wait. I'm going to find you a solution." So he went to the Church of Nativity and brought back an old ladder that was so old that it could have seen Jesus being born. (Laughter) We did Face 2 Face with only six friends, two ladders, two brushes, a rented car, a camera and 20,000 square feet of paper. We had all sorts of help from all walks of life.
Stručnjaci su rekli, "Nema šanse. Ljudi to neće prihvatiti. Vojska će vas upucati, a Hamas će vas oteti." Rekli smo, "U redu, probajmo i pogurnimo to koliko god možemo." Volim kada me ljudi pitaju, "Kako velika će biti moja slika?" "Biti će velika kao i vaša kuća." Kada smo radili na zidu, napravili smo Palestinsku stranu. Stoga smo stigli samo s našim ljestvama i shvatili smo da nisu dovoljno visoke. I tako su Palestinci rekli, "Smirite se. Ne, čekajte. Pronaći ću vam rješenje." Stoga je otišao u Crkvu Gospinog rođenja i donio je sa sobom stare ljestve koje su bile toliko stare da je moguće da su doživjele rođenje Isusa. (Smijeh) Napravili smo Licem u Lice sa samo šest prijatelja, dviju ljestava, dva kista, unajmljenim automobilom, fotoaparatom i 1.858 četvornih metara papira. Pružena nam je sva vrsta pomoći iz različitih dijelova života.
Okay, for example, that's Palestine. We're in Ramallah right now. We're pasting portraits -- so both portraits in the streets in a crowded market. People come around us and start asking, "What are you doing here?" "Oh, we're actually doing an art project and we are pasting an Israeli and a Palestinian doing the same job. And those ones are actually two taxi-drivers." And then there was always a silence. "You mean you're pasting an Israeli face -- doing a face -- right here?" "Well, yeah, yeah, that's part of the project." And I would always leave that moment, and we would ask them, "So can you tell me who is who?" And most of them couldn't say.
U redu, na primjer, to je Palestina. Upravo sada smo u Ramallahu. Lijepimo portrete -- dakle, portrete i na ulicama i na prenatrpanoj tržnici. Ljudi se okupe oko nas i počinju pitati, "Što radite ovdje?" "O, mi zapravo radimo umjetnički projekt i postavljamo Izraelce i Palestince koji rade isti posao. A ovo ovdje su zapravo dva vozača taksija." I zatim bi uvijek bila tišina. "Mislite, lijepite lice Izraelca -- upravo ovdje kako radi grimasu?" "Pa, da, da, to je dio projekta." I uvijek bi ostavio sve tog trenutka, i pitali bismo ih, "Dakle, možete li mi reći tko je tko?" I većina njih nije mogla reći.
(Applause)
(Pljesak)
We even pasted on Israeli military towers, and nothing happened. When you paste an image, it's just paper and glue. People can tear it, tag on it, or even pee on it -- some are a bit high for that, I agree -- but the people in the street, they are the curator. The rain and the wind will take them off anyway. They are not meant to stay. But exactly four years after, the photos, most of them are still there. Face 2 Face demonstrated that what we thought impossible was possible -- and, you know what, even easy. We didn't push the limit; we just showed that they were further than anyone thought.
Čak smo i zalijepili na Izraelske vojne tornjeve, i ništa se nije dogodilo. Kada zalijepite sliku, to je samo papir i ljepilo. Ljudi ga mogu potrgati, tagirati, ili čak se i popišati na njega -- neki su prilično visoko za to, slažem se -- ali ljudi na ulici, oni su kustosi. Kiša i vjetar će ih svejedno potrgati. Nisu tamo da bi ostali. Ali točno četiri godine kasnije, slike, većina njih je još uvijek tamo. Licem u Lice je dokazao da ono za što smo vjerovali da je nemoguće je moguće -- i, znate što, čak je bilo i lagano. Nismo gurali granicu, samo smo pokazali da smo dalje nego je itko mislio.
In the Middle East, I experienced my work in places without [many] museums. So the reactions in the street were kind of interesting. So I decided to go further in this direction and go in places where there were zero museums. When you go in these developing societies, women are the pillars of their community, but the men are still the ones holding the streets. So we were inspired to create a project where men will pay tribute to women by posting their photos. I called that project Women Are Heroes. When I listened to all the stories everywhere I went on the continents, I couldn't always understand the complicated circumstances of their conflict. I just observed. Sometimes there was no words, no sentence, just tears. I just took their pictures and pasted them.
Na Bliskom istoku, doživio sam svoj rad na mjestima bez [mnogo] muzeja. Dakle, ti smjerovi u ulicama su bili prilično zanimljivi. Stoga sam odlučio otići dalje u tom smjeru i ići na mjesta gdje nema muzeja. Kada idete u ta društva u razvoju, žene su stupovi njihovih zajednica, ali muškarci su još uvijek oni koji drže ulice. Stoga smo bili inspirirani stvoriti projekt gdje će muškarci odati poštovanje ženama lijepeći njihove slike. Zovem taj projekt Žene su heroji. Kada bih slušao sve priče gdjegod bih išao po kontinentima, nisam mogao uvijek razumijeti komplicirane okolnosti njihovog sukoba, samo sam promatrao. Nekada nije bilo riječi, nije bilo rečenice, samo suze. Samo sam ih uslikao i zalijepio te fotografije.
Women Are Heroes took me around the world. Most of the places I went to, I decided to go there because I've heard about it through the media. So for example, in June 2008, I was watching TV in Paris, and then I heard about this terrible thing that happened in Rio de Janeiro -- the first favela of Brazil named Providencia. Three kids -- that was three students -- were [detained] by the army because they were not carrying their papers. And the army took them, and instead of bringing them to the police station, they brought them to an enemy favela where they get chopped into pieces. I was shocked. All Brazil was shocked. I heard it was one of the most violent favelas, because the largest drug cartel controls it. So I decided to go there.
Žene su heroji me odveo po cijelom svijetu. Većinu mjesta koja sam obišao, odlučio sam ići tamo jer sam čuo o njima kroz medije. Dakle, na primjer, u lipnju 2008.godine, gledao sam TV u Parizu, i tada sam čuo o toj strašnoj stvari koja se dogodila u Rio de Janeiru. Prva brazilska favela zvana Providencia. Troje djece -- odnosno troje studenata -- je vojska zadržala zato jer nisu sa sobom nosili svoje dokumente. I vojska ih je uzela, i umjesto da ih vode u policijsku postaju, odveli su ih u neprijateljsku favelu gdje su bili nasjeckani na komadiće. Bio sam šokiran. Cijeli Brazil je bio šokiran. Čuo sam kako je to jedna od najnasilnijih favela, jer je kontrolira najveći kartel droge. Stoga sam odlučio otići tamo.
When I arrived -- I mean, I didn't have any contact with any NGO. There was none in place -- no association, no NGOs, nothing -- no eyewitnesses. So we just walked around, and we met a woman, and I showed her my book. And she said, "You know what? We're hungry for culture. We need culture out there." So I went out and I started with the kids. I just took a few photos of the kids, and the next day I came with the posters and we pasted them. The day after, I came back and they were already scratched. But that's okay. I wanted them to feel that this art belongs to them.
Kada sam stigao -- mislim, nisam imao nikakav kontakt s nikakvom nevladinom organizacijom. Tamo ih nije bilo -- nema turističkog agenta, nema nevladinih organizacija, ničega -- nema svjedoka. Stoga smo samo hodali okolo, i sreli smo jednu ženu, i pokazao sam joj svoju knjigu. I ona je rekla, "Znate što? Gladni smo kulture. Trebamo kulturu tamo vani." Stoga sam otišao van i započeo sam s djecom. Uzeo sam nekoliko slika djece, i idući dan sam došao s posterima i zalijepili smo ih. Dan poslije, došao sam natrag tamo i bili su već ogrebeni. Ali to je u redu. Želio sam da osjećaju kako ta umjetnost pripada njima.
Then the next day, I held a meeting on the main square and some women came. They were all linked to the three kids that got killed. There was the mother, the grandmother, the best friend -- they all wanted to shout the story. After that day, everyone in the favela gave me the green light. I took more photos, and we started the project. The drug lords were kind of worried about us filming in the place, so I told them, "You know what? I'm not interested in filming the violence and the weapons. You see that enough in the media. What I want to show is the incredible life and energy. I've been seeing it around me the last few days." So that's a really symbolic pasting, because that's the first one we did that you couldn't see from the city. And that's where the three kids got arrested, and that's the grandmother of one of them. And on that stairs, that's where the traffickers always stand and there's a lot of exchange of fire. Everyone there understood the project. And then we pasted everywhere -- the whole hill.
Zatim, idući dan, održao sam sastanak na glavnom trgu i nekoliko žena je došlo. Sve su one bile povezane s troje djece koja su ubijena. Tamo je bila majka, baka, najbolja prijateljica. Sve su one željele izvikati priču. Nakon tog dana, svi u faveli su mi dali zeleno svjetlo. Uzeo sam više slika, i započeli smo projekt. Kraljevi droge su bili nekako zabrinuti zato što smo tamo snimali, pa sam im rekao, "Znate što? Ne zanima me snimanje nasilja i oružja. Vidite dosta toga u medijima. Ono što ja želim prikazati je nevjerojatan život. I zapravo ga promatram oko sebe već posljednjih nekoliko dana." Dakle, ovo je uistinu simbolično lijepljenje, jer ovo je prvi koji smo napravili a da ga niste mogli vidjeti iz grada. A tu su ono troje djece uhićeni, a ovo je baka jednog od njih. A na tim stubama, tu dileri uvijek stoje i bude mnogo pucnjave. Svi su tamo razumijeli projekt. A zatim smo lijepili posvuda -- po cijelom brdu.
(Applause)
(Pljesak)
What was interesting is that the media couldn't get in. I mean, you should see that. They would have to film us from a really long distance by helicopter and then have a really long lens, and we would see ourselves, on TV, pasting. And they would put a number: "Please call this number if you know what's going on in Providencia." We just did a project and then left so the media wouldn't know. So how can we know about the project? So they had to go and find the women and get an explanation from them. So you create a bridge between the media and the anonymous women.
Ono što je bilo zanimljivo je da mediji nisu mogli ući unutra. Mislim, morali ste to vidjeti. Oni su nas morali snimati sa uistinu velike distance iz helikoptera i zatim imati zbilja dugačak objektiv, i mogli smo se vidjeti na TV-u kako lijepimo. A oni bi stavili broj: "Molimo nazovite ovaj broj ukoliko znate što se događa u Providencii." Mi smo samo napravili projekt i otišli tako da mediji nisu znali. Dakle, kako možemo znati o projektu? Dakle, oni su morali ići i potražiti žene i dobiti objašnjenje od njih. Dakle, stvarate most između medija i anonimnih žena.
We kept traveling. We went to Africa, Sudan, Sierra Leone, Liberia, Kenya. In war-torn places like Monrovia, people come straight to you. I mean, they want to know what you're up to. They kept asking me, "What is the purpose of your project? Are you an NGO? Are you the media?" Art. Just doing art. Some people question, "Why is it in black and white? Don't you have color in France?" (Laughter) Or they tell you, "Are these people all dead?" Some who understood the project would explain it to others. And to a man who did not understand, I heard someone say, "You know, you've been here for a few hours trying to understand, discussing with your fellows. During that time, you haven't thought about what you're going to eat tomorrow. This is art." I think it's people's curiosity that motivates them to come into the projects. And then it becomes more. It becomes a desire, a need, an armor. On this bridge that's in Monrovia, ex-rebel soldiers helped us pasting a portrait of a woman that might have been raped during the war. Women are always the first ones targeted during conflict.
Nastavili smo putovati. Išli smo u Afriku, Sudan, Sierra Leone, Liberiju, Keniju. U ratom pogođenim mjestima poput Monrovije, ljudi dolaze ravno k vama. Mislim, žele znati što ćete učiniti. Stalno su me pitali, "Koja je svrha vašeg projekta? Jeste li nevladina organizacija? Jeste li mediji?" Umjetnost. Samo radimo umjetnost. Neki ljudi pitaju, "Zašto je crno i bijelo? Nemate li vi u Francuskoj boje?" (Smijeh) Ili vam kažu, "Jesu li svi ti ljudi mrtvi?" Neki koji bi razumjeli projekt bi objasnili drugima. A čovjeku koji nije razumio, čuo sam kako je netko rekao, "Znaš, ovdje si već nekoliko sati pokušavajući shvatiti, razgovarati sa svojim prijateljima. Tijekom tog vremena, nisi pomislio o tome što ćeš jesti sutra. To je umjetnost." Mislim kako je ljudska znatiželja ono što ih motivira da se uključe u projekte. A zatim postane više. Postane želja, potreba, [nejasno]. Na ovom mostu koji se nalazi u Monroviji, bivši pobunjenički vojnik nam je pomogao zalijepiti portret žene koja je moguće bila silovana tijekom rata. Žene su uvijek prve na udaru tijekom sukoba.
This is Kibera, Kenya, one of the largest slums of Africa. You might have seen images about the post-election violence that happened there in 2008. This time we covered the roofs of the houses, but we didn't use paper, because paper doesn't prevent the rain from leaking inside the house -- vinyl does. Then art becomes useful. So the people kept it. You know what I love is, for example, when you see the biggest eye there, there are so [many] houses inside. And I went there a few months ago -- photos are still there -- and it was missing a piece of the eye. So I asked the people what happened. "Oh, that guy just moved." (Laughter) When the roofs were covered, a woman said as a joke, "Now God can see me." When you look at Kibera now, they look back.
Ovo je Kibera, Kenija, jedna od najvećih siromašnih četvrti u Africi. Možda ste vidjeli slike nasilja koje se dogodilo nakon izbora tamo 2008. godine. Ovaj put smo prekrili krovove kuća, ali nismo koristili papir, jer papir ne sprječava kišu da pada u kuću -- vinil sprječava. Tada umjetnost postaje korisna. Stoga su ih ljudi sačuvali. Znate što volim, na primjer, kada tamo vidite najveće oko, ima toliko mnogo kuća unutra. I otišao sam tamo prije nekoliko mjeseci -- slike su još uvijek tamo -- i nedostajao je komadić oka. Stoga sam pitao ljude što se dogodilo. "O, taj čovjek se preselio." (Smijeh) Kada su krovovi bili prekriveni, žene je rekla to u šali, "Sada me Bog može vidjeti." Kada sada pogledate Kiberu, oni uzvraćaju pogled.
Okay, India. Before I start that, just so you know, each time we go to a place, we don't have authorization, so we set up like commandos -- we're a group of friends who arrive there, and we try to paste on the walls. But there are places where you just can't paste on a wall. In India it was just impossible to paste. I heard culturally and because of the law, they would just arrest us at the first pasting. So we decided to paste white, white on the walls. So imagine white guys pasting white papers. So people would come to us and ask us, "Hey, what are you up to?" "Oh, you know, we're just doing art." "Art?" Of course, they were confused. But you know how India has a lot of dust in the streets, and the more dust you would have going up in the air, on the white paper you can almost see, but there is this sticky part like when you reverse a sticker. So the more dust you have, the more it will reveal the photo. So we could just walk in the street during the next days and the photos would get revealed by themselves. (Applause) Thank you. So we didn't get caught this time.
U redu, Indija. Prije nego počnem, tek toliko da znate, svaki put kada idemo na neko mjesto, nemamo turističkog agenta, stoga se opremimo poput komandosa -- mi smo grupa prijatelja koja dođe tamo, i pokušavamo lijepiti po zidovima. Ali postoje mjesta gdje ne možete samo lijepiti po zidu. U Indiji je jednostavno bilo nemoguće lijepiti. Čuo sam kulturalno i zbog zakona, oni bi nas jednostavno uhitili kod prvog lijepljenja. Stoga smo odlučili lijepiti bijelo, bijelo po zidovima. Dakle, zamislite bijele momke kako lijepe bijele papire. Ljudi bi nam prišli i pitali nas, "Hej, što to radite?" "O, znate, mi samo činimo umjetnost." "Umjetnost?" Naravno, bili su zbunjeni. Ali znate kako Indija ima puno prašine po ulicama, i kako imate više prašine koja se diže u zrak, na bijelom papiru skoro možete vidjeti, kako je tamo ljepljivi dio poput onoga kada okrenete naljepnicu. Dakle, što više prašine imate, više će ona otkriti sliku. Dakle, mogli smo idućih dana samo hodati ulicom i slike bi se otkrile same od sebe. (Pljesak) Hvala vam. Dakle, ovaj put nismo uhvaćeni.
Each project -- that's a film from Women Are Heroes. (Music) Okay. For each project we do a film. And most of what you see -- that's a trailer from "Women Are Heroes" -- its images, photography, taken one after the other. And the photos kept traveling even without us. (Laughter) (Applause) Hopefully, you'll see the film, and you'll understand the scope of the project and what the people felt when they saw those photos. Because that's a big part of it. There's layers behind each photo. Behind each image is a story.
Svaki projekt, to je film iz Žene su heroji. (Glazba) U redu. Za svaki projekt napravimo film. I većinu onoga što vidite, ovo je kratak isječak iz "Žene su heroji" -- slike, fotografija, slikana jedna za drugom. I slika je čak putovala i bez nas. (Smijeh) (Pljesak) Nadam se kako ćete pogledati film, i razumijeti ćete obuhvat projekta i što su ljudi osjećali kada su vidjeli te fotografije. Jer to je veliki dio toga. Postoje slojevi iza svake fotografije. Iza svake slike postoji priča.
Women Are Heroes created a new dynamic in each of the communities, and the women kept that dynamic after we left. For example, we did books -- not for sale -- that all the community would get. But to get it, they would have to [get] it signed by one of the women. We did that in most of the places. We go back regularly. And so in Providencia, for example, in the favela, we have a cultural center running there. In Kibera, each year we cover more roofs. Because of course, when we left, the people who were just at the edge of the project said, "Hey, what about my roof?" So we decided to come the year after and keep doing the project.
Žene su Heroji je kreirao novu dinamiku u svakoj od tih zajednica, a žene su nastavile dinamiku nakon što smo otišli. Na primjer, napravili smo knjige -- ne za prodaju -- koje će dobiti cijela zajednica. Ali da bi ih dobili, morala ih je potpisati jedna od žena. Napravili smo to na većini mjesta. Vraćamo se redovito. I tako u Providencii, na primjer, u faveli, imamo kontrolirani centar koji tamo vodimo. U Kiberi, svake godine prekrije više krovova. Jer naravno, kada odemo, ljudi koji su bili na samom rubu projekta kažu, "Hej, što je s mojim krovom?" Stoga smo odlučili doći godinu kasnije i nastaviti s projektom.
A really important point for me is that I don't use any brand or corporate sponsors. So I have no responsibility to anyone but myself and the subjects. (Applause) And that is for me one of the more important things in the work. I think, today, as important as the result is the way you do things. And that has always been a central part of the work. And what's interesting is that fine line that I have with images and advertising. We just did some pasting in Los Angeles on another project in the last weeks. And I was even invited to cover the MOCA museum. But yesterday the city called them and said, "Look, you're going to have to tear it down. Because this can be taken for advertising, and because of the law, it has to be taken down." But tell me, advertising for what?
Doista važna stvar za mene je da ne koristim nikakvu marku ili korporativne sponzore. Stoga nemam nikakvu odgovornost prema nikome osim prema sebi i predmetima. (Pljesak) A to je za mene jedna od najvažnijih stvari u poslu. Mislim, danas, jednako važno kao i rezultat, je način na koji radite stvari. A to je oduvijek bio određen dio posla. A ono što je zanimljivo je ta tanka linija koju imam sa slikama i oglašavanjem. Upravo smo lijepili nešto u Los Angelesu na drugom projektu proteklih tjedana. I čak sam bio pozvan da prekrijem MOCA muzej. Ali jučer ih je grad zvao i rekao, "Gledajte, morat ćemo to skinuti dolje. Jer to se može shvatiti kao oglašavanje, i zbog zakona, mora se skinuti dolje." Ali recite mi, oglašavanje za što?
The people I photograph were proud to participate in the project and to have their photo in the community. But they asked me for a promise basically. They asked me, "Please, make our story travel with you." So I did. That's Paris. That's Rio. In each place, we built exhibitions with a story, and the story traveled. You understand the full scope of the project. That's London. New York. And today, they are with you in Long Beach.
Ljudi koje ja fotografiram su ponosni što mogu sudjelovati u projektu i što mogu imati svoju sliku u zajednici. Ali oni su me, u osnovi, molili za obećanje. Molili su me, "Molim vas, dajte da naša priča putuje s vama." Stoga i jesam. Ovo je Pariz. Ovo je Rio. U svakom mjestu, napravili smo izložbe s pričom, i priča je putovala. Shvaćate pun obuhvat projekta. Ovo je London, New York. I danas, oni su s vama u Long Beachu.
All right, recently I started a public art project where I don't use my artwork anymore. I use Man Ray, Helen Levitt, Giacomelli, other people's artwork. It doesn't matter today if it's your photo or not. The importance is what you do with the images, the statement it makes where it's pasted. So for example, I pasted the photo of the minaret in Switzerland a few weeks after they voted the law forbidding minarets in the country. (Applause) This image of three men wearing gas masks was taken in Chernobyl originally, and I pasted it in Southern Italy, where the mafia sometimes bury the garbage under the ground.
U redu, nedavno sam započeo projekt javne umjetnosti gdje više ne koristim svoju umjetnost. Koristim Man Ray, Helen Levitt, Giacomelli, umjetnost drugih ljudi. Danas nije važno je li to vaša fotografija ili nije. Važnost je u onome što radite s tim slikama, izjavu koju naglašava kada je zalijepljena. Dakle, na primjer, zalijepio sam fotografiju minareta u Švicarskoj nekoliko tjedana nakon što su izglasali zakon koji zabranjuje minarete u toj zemlji. (Pljesak) Ova slika troje muškaraca kako nose gas maske je izvorno uslikana u Černobilu, i zalijepljena u južnoj Italiji, gdje mafija ponekad zakapa smeće ispod zemlje.
In some ways, art can change the world. Art is not supposed to change the world, to change practical things, but to change perceptions. Art can change the way we see the world. Art can create an analogy. Actually the fact that art cannot change things makes it a neutral place for exchanges and discussions, and then enables you to change the world. When I do my work, I have two kinds of reactions. People say, "Oh, why don't you go in Iraq or Afghanistan. They would be really useful." Or, "How can we help?" I presume that you belong to the second category, and that's good, because for that project, I'm going to ask you to take the photos and paste them.
U neku ruku, umjetnost može promijeniti svijet. Umjetnost ne bi trebala promijeniti svijet, da promijeni praktične stvari, već da promijeni percepcije. Umjetnost može promijeniti način na koji vidimo svijet. Umjetnost može stvoriti analogiju. Zapravo, činjenica da umjetnost ne može mijenjati stvari je čini neutralnim mjestom za razmjene i diskusije, i zatim vam omogućava da promijenite svijet. Kada radim svoj posao, nailazim na dvije vrste reakcija. Ljudi kažu, "O, zašto ne odete u Irak ili Afganistan. Oni bi bili veoma korisni." Ili, "Kako možemo pomoći." Pretpostavljam da pripadate drugoj kategoriji, i to je u redu, jer za taj projekt, zamolit ću vas da uslikate fotografije i zalijepite ih.
So now my wish is: (mock drum roll) (Laughter) I wish for you to stand up for what you care about by participating in a global art project, and together we'll turn the world inside out. And this starts right now. Yes, everyone in the room. Everyone watching. I wanted that wish to actually start now. So a subject you're passionate about, a person who you want to tell their story or even your own photos -- tell me what you stand for. Take the photos, the portraits, upload it -- I'll give you all the details -- and I'll send you back your poster. Join by groups and reveal things to the world. The full data is on the website -- insideoutproject.net -- that is launching today.
Dakle, moja želja sada je: (lažni bubnjevi) (Smijeh) Želim da se zauzmete za ono do čega vam je stalo tako da sudjelujete u globalnom umjetničkom projektu, i zajedno ćemo preokrenuti svijet iznutra prema vn. A to počinje upravo sada. Da, svi u prostoriji. Svi koji gledaju. Želim da ta želja zapravo počne sada. Dakle, predmet prema kojem gajite strast, osoba čiju priču želite ispričati, ili čak svoje vlastite fotografije -- recite mi za što se zauzimate. Napravite slike, portrete, stavite ih na stranicu -- dati ću vam sve detalje -- i ja ću vam poslati natrag vaš poster. Udružite se u grupe i otkrijte stvari svijetu. Svi podaci su na stranici: insideoutproject.net koja počinje s radom danas.
What we see changes who we are. When we act together, the whole thing is much more than the sum of the parts. So I hope that, together, we'll create something that the world will remember. And this starts right now and depends on you.
Ono što vidimo mijenja ono tko jesmo. Kada djelujemo zajedno, cijela stvar je puno više od zbroja njenih dijelova. Stog se nadam da, zajedno, ćemo stvoriti nešto što će svijet pamtiti. A to počinje upravo sada i ovisi o vama.
Thank you.
Hvala vam.
(Applause)
(Pljesak)
Thank you.
Hvala vam.
(Applause)
(Pljesak)