Transcript: The Iconic Public Sculpture Art of Jaume Plensa | Jan 02, 2020

(music plays)

Logo: TVF International.

Fast clips show various modern works of art, 3D video art pieces, hot air balloons and projections on a building.

A Female Narrator says THE CONTEMPORARY
ART WORLD IS VIBRANT AND
BOOMING AS NEVER BEFORE.
IT'S A 21ST CENTURY PHENOMENON,
A GLOBAL INDUSTRY IN ITS OWN
RIGHT.
BRILLIANT IDEAS
LOOKS AT THE
ARTISTS AT THE HEART OF THIS.
ARTISTS WITH A UNIQUE POWER TO
ASTONISH, CHALLENGE, AND
SURPRISE.
IN THIS PROGRAM, SPANISH
SCULPTOR JAUME PLENSA.

The name of the show appears in white letters against different colourful abstract backgrounds. It reads "Brilliant Ideas."

A song says I-D-E-A-S
IDEAS

An aerial view shows a giant white head sculpture with its eyes closed against a blue sky.

Jaume Plensa is in his mid sixties, with a white beard and matching hair. He wears a blue shirt and glasses.

Jaume says IT'S NOT A DECISION TO BE AN
ARTIST, IT'S A DESTINY.

A woman in her early fifties with a black dress says HE ISN'T SIMPLY SITING
SCULPTURE, HE'S CREATING
SITUATIONS WHERE CONVERSATIONS
TAKE PLACE.

Benjamin says HE'S AMBITIOUS, BUT HE WORKS
ON A SCALE THAT DEMANDS A PUBLIC
PRESENCE.

A red sculpture of a sitting person holding their legs appears on a tall structure on the street.

Lilly says HE IS PLAYING WITH THE
CONVENTIONS OF TRADITIONAL
SCULPTURE.
YOU KNOW, THEY'RE NOT LIKE,
HEROES ON HORSEBACK, BUT THEY'RE
LIKE, THESE GIANT HEADS OF
CHILDREN.

The Narrator says JAUME PLENSA IS ONE
OF THE WORLD'S MOST CELEBRATED
PUBLIC ARTISTS.
BEST KNOWN FOR HIS MONUMENTAL
FIGURATIVE SCULPTURES, HIS
ICONIC PUBLIC WORKS ARE SITED
AROUND THE WORLD, FROM RIO TO
CALGARY, NEW YORK TO TOKYO.
WHETHER MADE OUT OF STEEL,
GLASS, BRONZE, LIGHT, WATER,
OR SOUND, HIS WORK AIMS TO
TRANSFORM PEOPLE'S EXPERIENCE
OF THE SPACES THEY OCCUPY.

(flamenco music plays)

Fast clips of Barcelona's monuments and streets flash by.

Jaume says I WAS BORN IN BARCELONA.
IT'S A BEAUTIFUL TOWN, IN MY
OPINION, BECAUSE IT KEEPS,
STILL THE CERTAIN HUMAN SCALE.
ALSO AT THE SAME TIME I WAS
BORN IN A CITY WITH THE SEA.
IT'S PROBABLY ONE OF THE MOST
BEAUTIFUL ELEMENTS IN TOWN.
IT WAS GREAT TO LIVE IN A CITY
IN WHERE YOU HAVE THE MOST
BEAUTIFUL MUSEUM, WITH ARTISTS
LIKE MIRO, WHICH I LOVE IT WHEN
I WAS A CHILD.
AND OF COURSE ARCHITECTS LIKE
GAUDI.
MY FATHER WAS ALWAYS PLAYING
PIANO, AND MY MOTHER WAS, UH,
SINGING.
MY FATHER HAD AN UPRIGHT PIANO
WITH TWO SLIDING DOORS, AND MANY
TIMES WHEN I WAS REALLY TINY, I
WAS HIDING MYSELF INSIDE THE
PIANO, AND HE WAS PLAYING
WITHOUT HIS KNOWLEDGE THAT I WAS
IN, AND I REALLY DISCOVERED THE
BEAUTY OF THE VIBRATION OF
MATERIAL.

(soft piano music playing)
A human torso sculpture made of steel musical notes appears.

He continues THAT VIBRATION WAS COMPLETELY
THE VIBRATION OF LIFE,
EVERYTHING WAS VIBRATING AROUND
ME.
AND I GUESS, I COULD UNDERSTAND
TODAY HOW INFLUENTIAL HAS BEEN
THAT EXPERIENCE IN MY WORK.
AND MANY TIMES I'M THINKING THAT
ALL MY LIFE, ALL MY WISH TO BE
AN ARTIST IS COMING FROM THE
INTERIOR OF MY FATHER'S PIANO.

Visitors take pictures of a massive 3D head sculpture in a basilica.

The woman in her early fifties with a black dress says THAT'S WHAT HE'S
ENGAGED WITH, HE'S TAKING
IMMATERIAL EXTRAORDINARY IDEAS,
AND PULLING THEM INTO A KIND OF
A MATERIAL FORM.
AND HE USES IN THAT PROCESS
MANY DIFFERENT MATERIALS, FROM
GLASS TO STEEL TO PAPER.
BUT ACTUALLY WHAT HE'S DOING IS
HE'S CAPTURING LIGHT, HE'S
TAKING LIGHT AND MOLDING LIGHT
IN A VERY PARTICULAR WAY.
AND THROUGH THAT PROCESS, A KIND
OF ENLIGHTENMENT HAPPENS FOR THE
PEOPLE WHO ENGAGE WITH HIS WORK.

The Narrator says ONE STUNNING WORK
BY JAUME IN THE NORTH OF
ENGLAND CAPTIVATED A WHOLE
COMMUNITY.

In a field, a shaved man in his late forties stands in a pathway near a giant head sculpture.

He says WHERE WE STAND NOW USED TO BE
THE OLD COAL TIP AT SUTTON
MANOR, AND IT WAS A BLEAK, AND
IT WAS A DESOLATE, AND IT WAS A
DIRTY PLACE.
WE'VE HAD 400 YEARS OF MINING
HERE, SO WHEN ALL THE PITS WENT,
THE WHOLE AREA STRUGGLED.
WE ENTERED A COMPETITION IN 2003
CALLED "THE BIG ART PROJECT."

Pictures of a plant flash by.

He continues WHAT IT WAS LOOKING FOR WAS TO
PUT SOMETHING BACK INTO A
COMMUNITY THAT'D HAD THE HEART
AND SOUL RIPPED OUT OF IT BY
POLITICAL OR ECONOMIC MEASURES,
AND ST. HELEN'S WAS JUST A
PERFECT PLACE.

Jaume says THEY EXPLAINED TO ME ABOUT
THE MINES, THE COLLIERY, THE
PEAT, ABOUT THINGS THAT I NEVER
LISTENED BEFORE, HONESTLY.
ONE OF THE EX-MINERS, WHEN THEY
TOLD ME "JAUME, WHEN YOU ARE IN
THE PIT, 300 METRES UNDER, THE
DARKNESS IS SO DEEP THAT LIGHT
BECOMES A DREAM."
I SAID "WOW," BECAUSE I'M FROM
THE MEDITERRANEAN, AND FOR ME,
LIGHT IS SO NORMAL, SO-- I NEVER
THOUGHT ABOUT LIGHT, HONESTLY.
THANKS TO THEM, LIGHT FOR ME
CHANGED COMPLETELY THE CONCEPT.

The shaved man in his late forties says WE SPOKE TO HIM ABOUT WHAT
WE'D LIKE ON THE SITE, AND HE
UNVEILED A GIANT MINER'S LAMP.
He laughs and continues
WHICH PUT US IN A VERY FUNNY
POSITION WITH HIM.
WE HAD TO GO BACK TO HIM AND
SAID "YOU'VE KEPT US IN THE
PAST."
HE SAID "WELL, THIS WAS MY
ORIGINAL IDEA, WHICH I SCRAPPED,
BECAUSE I THOUGHT YOU MAY NOT
LIKE IT."
AND THEN HE UNVEILED
DREAM
FOR
US, AND WE ALL WENT "WOW!
THIS IS IT, THIS IS WHAT WE
LIKE."

Jaume says THE DREAM OF THOSE GUYS WAS
REALLY TO STOP WITH THE PAST,
AND TO REALLY LOOK INTO THE
FUTURE.
I GIVE THE TITLE TO MY PIECE,
DREAM,
BECAUSE FINALLY, IT'S
THE PORTRAIT OF A GIRL DREAMING.
IT'S WITH THE EYES CLOSED, SHE'S
NOT REALLY INTERESTED ABOUT THE
LANDSCAPE.
SHE'S REALLY INTERESTED ABOUT
THE INTERIOR OF THE EARTH.
REALLY, I GUESS, THE SOUL OF ALL
THESE PEOPLE.

The shaved man in his late forties says WHEN THEY PUT THE FINAL PIECE
ON TOP, WE HAD SIX BURLY MINERS
WHO'D BEEN WITH IT FROM DAY ONE,
AND ME INCLUDED, WE ALL WANTED
TO CRY.
YOU KNOW, BECAUSE YOU CAN NEVER
ENVISAGE HOW HORRIBLE THIS PLACE
WAS TO SEE.
LORRIES BRINGING UP SOMETHING OF
A QUALITY OF WHITENESS WAS JUST
FANTASTIC.

(enchanting music plays)
The sculpture sits on white stairs, surrounded by trees.

Jaume says THE DAY OF THE OPENING, A FEW
THOUSAND PEOPLE CAME, ALL THE
VILLAGE CAME.
IT WAS REALLY PROBABLY ONE OF
THE MOST UNFORGETTABLE DAYS FROM
MY LIFE.

Several women practice yoga around the sculpture.

A woman in her thirties wearing a blue sport jacket says TODAY IS INTERNATIONAL
YOGA DAY, AND I THOUGHT IT'D BE
A WONDERFUL OPPORTUNITY TO BRING
THE COMMUNITY OF ST. HELEN'S
TOGETHER AND DO A YOGA
CELEBRATION IN FRONT OF THE
DREAM.
STRETCH YOUR ARMS UP ABOVE YOUR
HEAD.

A young woman says I DO YOGA OFTEN, JUST AS A
HOBBY, AND I LOVE IT.
AND THEN AS SOON AS I SAW THAT
IT WAS HERE, I WAS LIKE "THAT IS
GONNA BE THE PERFECT PLACE TO DO
YOGA."

The woman in her thirties wearing a blue sport jacket says IT FEELS EUPHORIC, IT FEELS,
UM, SLIGHTLY LEVITATIONAL, IF I
CAN SAY THAT.
IT'S JUST A WONDERFUL ATMOSPHERE
AND TO FEEL AT PEACE.
YOU FEEL VERY GROUNDED AND
ROOTED AND CONNECTED WITH THE
EARTH.

A man in his forties wearing a black and red sport jacket says IT'S A MASSIVE CHANGE OVER
THE LIKE, 20, 30 YEARS.
I REMEMBER THIS AREA BEING A
SLAG HEAP, SO THIS IS A GREAT
MOMENT FOR THE MINERS THAT
WORKED HERE.

The young woman says IT'S KINDA INDUSTRIAL, BUT...
IT-- BECAUSE IT'S WHITE, IT
LOOKS REALLY CLEAN AND PURE, AND
THAT'S WHY IT LOOKS QUITE
SPIRITUAL.
AND ALSO BECAUSE SHE'S ASLEEP,
IT'S REALLY-- IT'S REALLY
BEAUTIFUL.

The shaved man in his late forties says IT'S LIKE GREAT ART SHOULD
BE, YOU EITHER LOVE IT OR YOU
HATE IT.

Jaume says OBVIOUSLY ST. HELEN'S, IT'S
ONE OF THE MOST IMPORTANT PIECES
IN MY CAREER.
THE BEAUTY OF THAT HILL IS THE
BEAUTY OF OUTSIDE-- I DID
NOTHING, I JUST TRIED TO-- TO
OPEN, YOU KNOW-- THE PAPER, IT
WAS LIKE A GIFT, BUT THE STEEL
WRAPPED IT.
AND EVERYTHING WAS DONE BY THEN,
I JUST OPENED IT... PUT IT BACK.
I LOVE ART IN PUBLIC SPACES VERY
MUCH, BECAUSE I LOVE PEOPLE.
AND FOR ME, IT'S EASY TO TALK
AND TALK AND TALK WITH THE
DIFFERENT PARTNERS IN ONE
PROJECT.
POLITICIANS, SOCIAL GROUPS,
PEOPLE THAT ARE USING EVERYDAY
SPACE.

The woman in her early fifties with a black dress says I'VE SEEN HIS WORK IN
PLACES AROUND THE WORLD, AND I
HAVEN'T FAILED TO BE AMAZED AT
HOW PEOPLE RESPOND TO THEM.
PEOPLE WHO HAVE NO NOTION OF WHO
THIS MAN IS, THIS ARTIST.
AND ONE OF THE THINGS JAUME IS
REALLY INTENT ON DOING IS TAKING
THAT SITUATION, WHERE PEOPLE WHO
DON'T NORMALLY ENGAGE WITH ART
FIND THEMSELVES FALLING INTO
THIS ART, AND, UM, BECOMING
ABSORBED BY IT.

Jaume says WHEN I'M DOING A SHOW IN A
MUSEUM OR IN A GALLERY, OF
COURSE IT'S ART BECAUSE IT'S IN
A GALLERY, OR IT'S IN A MUSEUM,
BUT WHEN IT'S IN THE PUBLIC
SPACE, WHO KNOWS?
PUBLIC SPACE HAS SPECIFIC RULES,
AND THE WAY THAT PEOPLE ARE
ALWAYS DISAPPOINTED, BECAUSE
WHATEVER YOU DO, IT'S WRONG.
OKAY, BUT I GUESS THAT IS PART
OF THE GAME, AND I LIKE THAT,
HONESTLY, BECAUSE YOU REALLY
ARE PLAYING COMPLETELY WITHOUT
ANY CONTEXT.

One of his head sculptures stands in the sea near a port.

A woman with short black hair in her late forties speaks Spanish.

A Female Translator says HE'S AN ARTIST
WHO HAS ALWAYS SAID THAT ONE OF
HIS GOALS WAS TO LOOK FOR
BEAUTY, TO TAKE BEAUTY TO THE
PEOPLE.
AND NOWADAYS, THAT'S ALMOST
SUBVERSIVE.
IT MAKES HIM A COUNTERCULTURE
ARTIST.

An abstract curved white roof structure stands covers an entrance.

Jaume says WE'RE TALKING ABOUT
DREAMS, YOU ARE NOT TALKING
ABOUT BENCHES OR ABOUT, YOU
KNOW, STREET LAMPS OR THINGS
LIKE THAT.
YOU MUST DREAM ABOUT, I
DON'T KNOW, ELEMENTS THAT COULD
RETURN BEAUTY IN YOUR EVERYDAY
LIFE.
YOU MUST DREAM ABOUT SOMETHING
THAT BECOMES A BEACON, SOMETHING
THAT PEOPLE COULD SEE, A
REFERENCE IN THE LANDSCAPE.

The Narrator says HERE, ON AN INDUSTRIAL ESTATE
IN BARCELONA'S SUBURBS, ARTIST
JAUME PLENSA WORKS WITH HIS
TEAM IN HIS STUDIO, CREATING
INCREDIBLE SCULPTURES FROM
STEEL, IRON, BRONZE, ALABASTER,
WOOD, AND EVEN FROM LIGHT
ITSELF.

Jaume walks around his studio and says I'M COMBINING MANY DIFFERENT
ALPHABETS-- JAPANESE, CHINESE,
HEBREW, ARABIC, CYRILLIC, GREEK,
HINDI, AND LATIN.

A caption reads "Benjamin Genocchio. Editor, ArtNet News." Benjamin is in his mid-forties, with a short bead and bald. He wears glasses and a white shirt.

Benjamin says I THINK WHAT HE'S DOING THERE
IS USING INFORMATION TO
CONSTRUCT A SENSE OF IDENTITY,
OR A SENSE OF PERSON.
AND HOW HE USES THAT INFORMATION
EXACTLY, TO CONVEY THE IDENTITY,
CHANGES FROM WORK TO WORK.
AND THAT'S WHAT KEEPS EACH
SCULPTURE INTERESTING.

Jaume stands in front of a working table filled with models of letters and says WE HAVE, LIKE IN A LIBRARY,
PLENTY OF FLOATING LETTERS THAT
WE ARE BENDING, FOLLOWING THE
SHAPE OF THE HUMAN BODY.
IT'S A WAY TO CREATE A SECOND
KIND OF A SKIN.

The woman with short black hair in her late forties says JAUME IS AN
ARTIST WHO IS TOTALLY ANCHORED
IN CONCEPTUALISM.
HIS WORLD IS THAT OF IDEAS, BUT
AT THE SAME TIME, IT'S
INCREDIBLY IMPORTANT TO HIM HOW
HE BRINGS THINGS INTO BEING.

Jaume says THIS PIECE WILL TRAVEL IN
THREE SEGMENTS.
WE HAVE ALREADY FIXED THE HEAD
ON TOP OF THE SHOULDER, AND THAT
WAS THE SECOND ELEMENT.
WE JUST HAVE TO VERIFY THAT
EVERY CONNECTOR IS IN THE RIGHT
PLACE, THAT THE BOLTS ARE FINE,
AND THEN WE SEPARATE AGAIN ALL
THE PIECES, AND IT'S GOING TO
THE SANDBLASTING AND PAINTING.

The woman with short black hair in her late forties says HE ALSO HAS A
ROMANTIC ATTITUDE.
HE'S ONE OF THOSE ARTISTS FOR
WHOM BRINGING ART INTO BEING
DOESN'T STOP HIM DREAMING.
IT'S MORE LIKE HE DREAMS
SOMETHING AND THEN LOOKS FOR
TECHNICAL SOLUTIONS TO MAKE IT
REAL.
EVEN THOUGH WHEN YOU SEE HIS
WORK, YOU WONDER AT ITS
COMPLEXITY.

His team assembles a bog steel sculpture.

Jaume says THAT IS ONE OF THOSE
KINDS OF WORKS THAT I'M DOING
THAT PEOPLE ARE INVITED TO COME
IN-- THAT IS FOR SEATTLE.
AND THAT WILL BE A PIECED CALLED
TWINS,
WHICH IS ONE IN FRONT OF
ANOTHER.
THE CONCEPT OF A MIRROR, WHEN
YOU ARE IN FRONT OF A MIRROR,
AND YOUR IMAGE HAS BEEN
REFLECTED COMPLETELY IN THE
MIRROR.
AND YOU HAVE A DIALOGUE WITH
YOURSELF, FINALLY.
AND YOU CAN UNDERSTAND EVOLUTION
OF TIME, WHO YOU ARE...
WHAT IS YOUR-- WHAT YOUR DREAMS
ARE, AND SOMETIMES THE PERSON
WHICH ARE LOOKING TO YOU HAVE
NOT EXACTLY THE SAME AS YOU
IMAGINE TO BE.

The woman in her early fifties with a black dress says JAUME HAS SPOKEN ABOUT THE
POTENTIAL POETRY OF DIVERSITY,
AND THAT'S A REALLY KEY PART OF
HIS WORK.
THAT WE CONSIDER OURSELVES AS
HUMANITY WITHOUT DIVISION,
DISSOLVING BOUNDARIES, AND
THAT'S HIS VISION.
AND THE WORKS BECOME
EXTRAORDINARILY CONCENTRATED
PLACES OF AWARENESS AND
UNDERSTANDING.

Jaume stands inside an impressive white sculpture made of joined letters that reaches the ceiling.

He says IT'S A VERY ROMANTIC
PIECE, ACTUALLY, BECAUSE WHEN
PEOPLE ARE INSIDE, THEY REALLY
COULD SEE THE WORLD COMPLETELY
THROUGH THE TEXT.
I GUESS IT'S AN HOMAGE TO
HUMANITY.
ALSO ABOUT THE MIX OF DIFFERENT
ALPHABETS, IT'S A CELEBRATION OF
LIFE AND HOW WELL WE CAN BE WHEN
WE ARE TOGETHER.
THAT, I THINK, IS FOR ME VERY
IMPORTANT AS A CONCEPT.
AND I ALSO ADOPTED MY RANGE OF
ALPHABETS, MUSIC, AND A KIND OF
SILENT CONVERSATION, BECAUSE
THEY ARE TALKING ABOUT SOUND.
I LOVE THIS IDEA THAT THANKS TO
SOMETHING PHYSICAL, YOU ARE
DREAMING ABOUT SOMETHING
INVISIBLE.

I REMEMBER WHEN I WAS REALLY
FASCINATED ABOUT THE ORIGIN OF
THE WORLD.
WHY A MOUNTAIN IS LIKE IT IS, OR
STONE.
AND I WAS DREAMING ABOUT THAT,
AND I REMEMBER I VISITED A CAST
IRON FOUNDRY, AND I LIKED IT
BECAUSE I THOUGHT IT WAS PRETTY
SIMILAR-- THE MOMENT WHEN
EVERYTHING SEEMS LIKE A LIQUID,
AND WHEN THEY SUDDENLY GET COLD,
AND IT'S FIXED IN ONE SHAPE,
WHICH WAS VERY DIFFICULT TO
CORRECT.
THE CAST IRON WAS PRETTY SIMILAR
IN THAT WAY, AND I LIKE IT.
SLOWLY AND SLOWLY, I DEVELOP ALL
THIS TECHNIQUE IN CAST IRON THAT
MAKES ME QUITE WELL KNOWN AROUND
THE WORLD.

Fast clips show head models of different materials in his studio.

The caption changes to "Lilly Wei. Critic and Curator." Lilly is in her sixties, with shoulder-length graying hair and bangs. She wears a black sleeveless dress.

Lilly says ODDLY ENOUGH, IN SOME WAYS
HE'S A TRADITIONAL SCULPTOR, AND
HE'S TAKEN IT IN A DIRECTION
THAT WAS RATHER RISKY, BECAUSE
TO MAKE THE KIND OF WORK HE
MADE, AND STILL BE CONSIDERED A
CONTEMPORARY ARTIST, WAS PERHAPS
UNUSUAL.

Jaume stands in front of a enormous dark head sculpture and says WE CAN REALLY WALK ALL
AROUND, AND WHEN YOU ARE-- YOU
FEEL THAT THE VOLUME IS
COMPLETE, BUT WHEN YOU ARE
WALKING, THE PIECE IS
DISAPPEARING, AND DISAPPEARING,
WHICH-- AND YOU GET BACK-- IN
THE BACK THE SAME IDEA.

Lilly says THERE'S SOMETHING ABOUT THE
FACE, IT SEEMS ON THE VERGE OF
DISSOLVING OR COMING INTO BEING
AS IF IT WERE A FILMIC
TECHNIQUE.
SO THERE'S A KIND OF POTENTIAL
THERE-- IS IT APPEARING OR
DISAPPEARING?

Jaume says I REMEMBER ONE DAY, I'D BEEN
IN THE FOUNDRY LOOKING FROM THE
ITEM GOING OUT FROM THE OVEN.
AND I SAID "WELL LOOK, IT'S SO
HEAVY AS A MATERIAL, BUT WHEN
IT'S LIQUID, IT'S JUST LIGHT."
AND I SAID "WELL, MAYBE
MATERIALS ARE NOT IMPORTANT.
THE IMPORTANCE IS YOUR ATTITUDE
IN FRONT OF MATERIALS."
AND I STARTED TO WORK WITH LIGHT
THAT DAY.
I LOVE THAT, BECAUSE MY WORK
CHANGED COMPLETELY WITH ONE OR
ANOTHER LIGHT.
I STILL REMEMBER AN ARTIST WHO
VISITED MY INSTALLATION TOLD ME
IN THE OPENING "JAUME, I LOVE
YOUR INSTALLATIONS," HE SAID.
"IF TOMORROW YOU ARE COMING BACK
TO THE GALLERY AND YOU MISS ONE
OF YOUR SHADOWS, IT'S ME WHO
STOLE IT."
I THINK IT WAS BEAUTIFUL.

The Narrator says IN 2015, THE VENICE
BIENNALE PLAYED HOST TO
CONTEMPORARY SCHOLAR JAUME
PLENSA'S LATEST EXHIBITION.
CALLED
TOGETHER,
IT WAS
INSTALLED WITHIN ONE OF
VENICE'S MOST CELEBRATED
LANDMARKS-- THE BASILICA OF SAN
GIORGIO MAGGIORE.

In the basilica, Jaume says THEY ASKED ME TO DO AN
INSTALLATION BECAUSE MY WORK IS
ALWAYS TALKING ABOUT
SPIRITUALITY, SILENCE.
IT WAS A BEAUTIFUL, BEAUTIFUL
EXPERIENCE TO DIALOGUE WITH THAT
BASILICA, BECAUSE IT'S A TEMPLE
WITH A FUNCTION, WHICH MEANS A
LOT OF PEOPLE ARE COMING HERE
FOR OTHER REASONS THAN ART.
I DECIDED TO DO THE PORTRAIT OF
THIS YOUNG GIRL, BUT IN A VERY
TRANSPARENT WAY.
IT IS A MESH, COMING FROM MY 3D
WORK IN THE COMPUTER.

Now, Jaume stands in an office.

He says HERE IS THE BRAIN OF THE STUDIO,
WHICH IS (UNCLEAR).
(chuckling)
WITH HIM, WE DEVELOP ALL THE
FORMATIONS THAT WE ARE DOING
WITH THE 3D SYSTEM.

A bald man in his forties with a dark shirt works in a computer.

The bald man in his forties with a dark shirt says MY ROLE, IN A SENSE, IS TO
HELP HIM IN THE TECHNICAL
ASPECTS.
WHEN YOU GO OUT THERE IN THE
JUNGLE OF ENGINEERS, ARCHITECTS,
CITY HALLS AND STUFF LIKE THAT.
AND THEY WANT TO KNOW HOW MUCH
IT'S GONNA COST, HOW MUCH-- HOW
IT'S GONNA BE BUILT, HOW IT'S
GOING TO BE TRANSPORTED.
SO JAUME, BASICALLY HE HAS THE
IDEA, AND HE FOLLOWS THE WHOLE
PROCESS, BUT MORE IN A POETICAL
WAY NOW.

Jaume says THE CRAZY WORK IS TO
PASS THIS WORK FROM IMAGINE TO
REALITY.
I HAVE A FANTASTIC TEAM THAT
HELPS ME TO DO THAT.
WE HAVE TO PREPARE A LOT OF
MOULDS, TO FOLLOW EXACTLY THE
POSITION OF THE ROPES, AND THEN
TO TRY TO GIVE THE HUMAN TOUCH.
EVERY TIME THAT YOU BRING A
PIECE IN A DIFFERENT PLACE,
ESPECIALLY HERE, WELL YOU ARE
VERY CURIOUS TO KNOW IF YOUR
INTUITION WAS RIGHT.
AND IT WAS A VERY EXCITING
MOMENT, THE BOATS ARRIVING WITH
THE BIG CRATES WITH THE BIG
SEGMENTS OF THE PIECE, AND WE
START TO BRING ONLY THE SEGMENTS
INSIDE.
AND I REALIZED THAT THE SCALE
WAS PERFECT.
THE PIECE IS ABOUT 92 CUBIC
METRES OF AIR, TO EMPHASIZE THE
EMPTINESS, AS ONE OF THE MOST
BEAUTIFUL PARTS OF SPIRITUALITY.
WE SPENT TEN DAYS IN THE
BASILICA WORKING REALLY HARD TO
GET THIS FEELING OF PEACE AND
LIGHT.
EVERY INSTALLATION IS SPECIFIC
AND SPECIAL, BUT WHEN IT'S IN A
HISTORICAL PLACE LIKE THAT, IT'S
PROBABLY A LITTLE BIT MORE
COMPLEX.

The woman with short black hair in her late forties says THE EXPERIENCE OF
PLENSA'S WORK IN VENICE IS
EXTRAORDINARY.
NOT ONLY IS THE INSTALLATION
ITSELF INSIDE THE CHURCH OF SAN
GIORGIO, WHICH IS A TRUE
MIRACLE, IT IS THAT IT IS TOTAL
LIGHT.
TOTAL CLARITY, THROUGH WHICH YOU
CAN SEE THE CITY.
YOU CAN SEE THE PERSON NEXT TO
YOU, IT'S LIKE A LUMINOUS
PRESENCE.

Jaume says I HAD LUNCH WITH THE
ABBOT, AND HE SAID SOMETHING
THAT I COMPLETELY AGREE.
HE SAID WHEN THE BASILICA NEEDED
A PIECE OF ART SINCE THE 16TH
CENTURY, THAT PIECE WAS ALWAYS
CONTEMPORARY.
WHY NOT TODAY?
IT'S HARD FOR ME TO IMAGINE WHEN
THE PIECE WAS IN THE STUDIO.
IT SEEMS THAT IT WAS HERE SINCE
ALWAYS.

The Narrator says IF VENICE IS ABOUT
WORKING IN A HISTORIC SETTING,
JAUME'S WORK IN CHICAGO
COULDN'T BE MORE DIFFERENT.

At night, a video of a woman raising her eyebrows is projected on a water fountain tower in a city centre.

The woman in her early fifties with a black dress says PROBABLY ONE OF HIS MOST
IMPORTANT WORKS, AND THE ONE
WHICH IN SOME WAYS DEFINES HIM,
IS THE CROWN FOUNTAIN IN
CHICAGO.
IT'S AN EXTRAORDINARY WORK OF
TWO TOWERS MADE OF GLASS BRICKS.
AND OUT OF THOSE GLASS BRICKS
EMERGES AN EVER-CHANGING SERIES
OF FACES, AND THEY ARE THE FACES
OF THE PEOPLE OF CHICAGO.
AND OUT OF THEIR MOUTHS SPOUTS
WATER TO FORM A SHALLOW LAKE
BETWEEN THE TWO TOWERS.
AND OF COURSE IT BECOMES A PLACE
WHERE PEOPLE CONGREGATE, WHERE
THEY PLAY, WHERE THEY SEE
THEMSELVES.
IT'S AN EXTRAORDINARY POINT OF
SELF-IDENTIFICATION.

Jaume says WATER FOR US IS LIFE.
IT MEANS LIFE BECAUSE OUR BODY
IS PROBABLY 60 percent OF WATER.
FRESH WATER IS A RARE PRIVILEGE
AND PROBABLY THE NEXT WARS WILL
BE FOR THE WATER, NOT FOR THE
PETROL.
I REMEMBER IN MY CHILDHOOD
WALKING WITH MY MOTHER IN
BARCELONA.
THE GARGOYLES, BECAUSE THEY WERE
LIKE MONSTERS, LIKE VERY STRANGE
ANIMALS, EVEN A LITTLE BIT
DISGUSTING, SOME OF THEM.
BUT ALWAYS WITH THIS MOUTH OPEN,
AND SPOUTING WATER FROM THE
MOUTH.
AND WHEN I'D BEEN THINKING
ABOUT THE CROWN FOUNTAIN, I
DECIDED TO DO IT.
IT'S FUNNY BECAUSE MY PIECES
DOES NOT MOVE, BUT TECHNOLOGY
TODAY ALLOWED ME TO MAKE NEW
DIVINITIES FROM ANONYMOUS PEOPLE
LIVING IN TOWN, BUT NOT FIX IT
IN ONE POSITION.
IT CONTINUES TO BE ALIVE, AND
THAT WAS MY INTENTION.

Children run and play at the water fountain towers.

He continues IT'S FANTASTIC WHEN YOU REALLY
CAN LIVE FROM YOUR WORK, AND YOU
HAVE TO KEEP ALWAYS IN THAT
OPINION.
EVERY DAY TO SAY "MAMA MIA!
SUCH A BEAUTIFUL MIRACLE!"
THAT SOMEBODY STILL WANTS TO
SHARE THAT WITH ME.
YOU SHOULD CULTIVATE INTUITION,
AND YOU MUST KEEP A CERTAIN
NAIVE ATTITUDE.
YOU MUST BE VERY ARROGANT IN THE
WAY TO DEFEND YOUR ART, BUT VERY
HUMBLE AS A-- A PERSON.
TO BE AN ARTIST, IT'S NOT A
DECISION, IT'S A DESTINY.
YOU COULD NOT DO IT DIFFERENT.
I PREFER TO TRY TO BE A PERSON,
AND DREAMING ABOUT HOW TO GROW
UP AS A PERSON, I GUESS ART IS
A CONSEQUENCE OF THAT.
IT'S NOT A JOB, IT'S NOT A
PROFESSION, IT'S JUST ONE WAY TO
LOOK AT REALITY.
FOR ME, THE MOST BEAUTIFUL WAY
TO TALK ABOUT IT IS A WAY TO
BREATHE.
YOU COULD NOT DO DIFFERENT, IT'S
IMPOSSIBLE.

The end credits roll.

Narrated by Verity Sharp.

Produced and Directed by Lucy Gaster.

Executive Producer, George Entwistle.

Copyright 2015, Bloomberg LP.

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