lovely to for you to well we started out by saying that, you know, we're not like a program that specializes in art or sculpture. we go to see big dish visionaries from different fields just to pretty much talk about life. so hopefully that's what we're gonna do today. good news, i look forward. okay. so when i look at what you do, you aspire to make audiences really think white. not narrow, but then you've chosen such a personal thing body to make people think about things that are really out there. why? body wise, why the most personal thing in the world? because we all live inside work and i just wanted to start with the only thing that i could really be certain off, which is that yeah, i exist. i exist in a place that we call a body. and i guess there's so many illusions about the body that we call it my body. but of course it has its own agenda. it's part of a bigger system. and i think just to start with the intimate but also the thing that is common to all of us, we all live inside the body. we all live at the other side of appearance. and i guess thing here out the body principally as a place rather than the object. thinking of it as a place where we arrive to consciousness and then see about how a body connects to light to air, to space. or i guess that's my project and i it interesting. we goes at out school in a way you learn about other art. and i really wanted to start from 1st principles learning about life. i mean, or trying to make things that connect with life. and i think that means principally through feeling and where does feeling come from, from the body. so you could say my, my project is anthropological, rather than acetic. i want to, i want to use the space of art as a test grant, asking really simple questions. what does it feel like to be alive? what is our relationship to space and to each other and to all living things? what is our relationship to time? and you could say, well, these are big philosophical questions. what are you doing? trying to make objects that relate to these questions. and i say, well, i think that's couch it can be an objective, materialized full of skips of skepticism. asking the socratic question. we not certainly talk a lot about i statics versus the concept and, and the way your works are perceived by a wide range of audiences. but before that little bit more about the body and you, because i've also believed always believed to friends as the best writer writes his masterpiece, when he knows exactly what he's writing about when he's lived that story, right. and i mean, it must be the same thing for you working with a body's right is but except the fact that you've cast yourself literally cast it yourself. um, what do you find in buddies? because i know you were german colleague. i go to basil. it's used to say that, you know, sculpture is like archaeology, you deep and you find something. what he did when you, when you find, when you dig into the body. if you think of what we admire and i admire to in michelangelo, o bernini is that he manages to render into the crystalline and fix substance of marble. something off by tallahassee over feeling carried by that to me. and i, i guess for me rather than trying to, ah, illustrate vitality by an understanding of anatomy. i want to start with, with, with, with life itself. i don't just make body works, but all of the bodies that i make start with a live to moment of human time, my own. and it's really a, a, a question of life in a way, accepting the condition of sculpture and what is the conditional sculpture. it's still, it's silent and it captures time. we have consciousness, sculpture has time and a weight and the weights for our ability to move in time to think to feel. and this for me, rather than trying to make the inert into a movie, allow the stillness of silence or sculpture to provoke us, viewers into movement. and anyway, this for me is, yeah, the challenge for me this, this potential of sculpture to live in the elements. it doesn't need an institution, doesn't need a label, doesn't need a title. how do we return to that function of sculpture in which he begins to articulate our relationship with the earth and, and with time? well, you're saying right there about this culture, they doesn't need a title if needed, label, it just needs to be to start to articulate within the space. do you feel the same about the bible, the whole story of human in evolution. this is an extraordinary one because we all started or safety unsafe and started coming out of africa maybe 70000 years ago. but there were several other attempts to leave africa that failed the 1st modern human is probably 300000000 here. so we haven't changed much since and her story 3 100000. what am i saying? 300000. and i, i would say we, we, we've changed very little. and that's the problem. as yo, wilson says, you know, we have paleolithic, her emotions, medieval institutions, and anna, godlike technology. and the combination of these 3 very you could say historically distinct seeks fixes within our psycho physical makeup. i have rendered us pretty dangerous both to ourselves and to the, to the planet. simply because we're still going on the flight in flight. we are still treat, treating terrorists territory and the availability of, of all resources. as, as things we have to fight for and capture which is a primitive because it's just, we have never in terms of our extended home in terms of our technology. human kind has never had such amazing capability and it, so but it's a tragedy. i think it's a talking more about the human nature rather than a human body. i do agree that no, i phone 1500 has been able to change the fact that humans killed for a piece of land and peace and brag 1020500 years ago. that they still continue to do that. so yeah, we don't evolve as a human nature along with technology, but the role of the body does change. i mean, if you think of how it used to be treated like an object and now little by little, you sort of get hold of it and you know, you are the owner, your body and more. we go on, you know, less. anyone is allowed to tell you what to do with your body. so in that sense, the role of a body of a human body has certainly changed in society. you know, a great, i don't agree. i think it's so very remarkable. for example, how in a video, greek, ideals of bodily beauty are still very current. i mean, extraordinarily sir. so, you know, jim slo, world over a use for axial item or video sculpture us as kind of promotional or, or, you know, iconic models for, for the programs that they offer. and i think what you're talking about is, is the necessary change of sexual kind of role in position which society is constantly re addressing. but we seem to go around around in circles. i mean, i think there's more sexual plasticity these days than, than before. but then when you look back at human history or. ready certainly across all cultures i, my, for day tis, am, was extremely i understood, respected even worshipped in, in, in the time of piracy in athens. the, the, the acceptance so full forms of homosexuality. we're, we're, we're again understood, integrated i, i'm, i'm very dubious about notions of progress being inscribed in the body afternoon and take a short break right now. well, we come back, we'll continue talking to sculpture and philosophers are anthony, go away. we're talking pretty much about the purpose of sculptures and art in our life. stay with us. neither financial survival guide. daisy let learn about be allowed. let's say i'm a true i can and your great grief on base of the site. 9 wall street, thank you for helping with enjoy that right. fill out slavery july with an annual festival in st. petersburg dedicated to dust. i ask you, a great writer, thinker and psychologist. people often turned to his work to understand russia and russians, perhaps even themselves. they put a single, not even a while, you need them changing a reader, transforming them as they read that to dust. i ask is unique ability to stay of ski wants to tell. you can better yourself. he makes you face your true self search for you. we keep man beyond conventions, rules of schemes, beyond boundaries. in the time, dostoevsky is a global brand whose classics, as everyone knows, i'm never out of stuff with . oh, is your media a reflection of reality? in the world transformed what will make you feel safer? high selection, whole community. are you going the right way or are you being led somewhere? direct. what is true? what is great? in the world corrupted, you need to descend so join us in the depths or remain in the shallows. over the last 2 and a half years, russia, nato agreed on very little. if anything, however, both agreed to meet for a high level midi and they did in brussels. both sides made their case, nothing was really resolved lots of words. what happens next? maybe action and we're back with sculpture. last fir, sir anthony gormley. anthony, for when you do your installation see do you may think sculptures of all sizes and you say that this is to promote people to think to, to move. you do have a precise idea of where you would want them to move probably. now when you say, for instance, i will go on doing as much as i can to make pieces that encourage people to think openly about what is possible for our spaces in the evolution of life. what is possible for us? this is in evolution of life. well, i think that we have to, 1st of all, reconsider what is, what is life and the renaissance had this notion of the man as the measure of all things. and it's very clear from the work of everybody from love look through true ego wilson, that we are totally embedded in the biosphere and the biosphere is entirely responsible for the extraordinary relationship of gases that our body totally depends on. if there was only 18 percent of oxygen in there, or there was 25 percent deep, our whole metabolism would not exist. the history of photosynthesis, in terms of the forbidden years of life on this planet, is what has formed that atmosphere. and so i think that may be on its purpose. now having released itself from the need to illustrate either religious or state orthodoxies, is to start to ask those questions about how human being fits within total being. that means all i forms are on, on this planet and, and it's of a very different order to man as the measure of all things. it is a man and maybe as a point of reflection of all things. i think we've come now at the beginning, over another millennium to realize that actually are asked to return those freedoms to the viewer to the world, to 2, all conscious beings and say, this object which is really a space of possibility can be used as a location of full a cro of co creation of meaning. so there's no determined truth. there is no, there is no as it were a value system that this work attempts to approach. but together, may be in using this work as a lens or an instrument to examine our own experience in the world around us. we can begin together to create something of value for your sake about, ah, you know, concept versus i static. and that's what modern art has come to, no one really cares about the form or the beauty. it's really about the concept, which is a good thing. and it is supposed to give the view or the freedom that you inspire to gave. so you can examine yourself and live in your place in space and time. but then again, it has come to a point where 8, anyone pretty much who draws a line can say this is art without any concept or any craft behind it and sell it for a $1000000.00. and that's just, you know, for me up, mind boggling. they has come to that, and 2nd of all, the concept that they put into modern art, i don't want, i don't want to sound mad, but i'm kind of sick of people doing it all around, you know, the concept that it put them on or not. it dictates you what to think. it does not give you the freedom to, to examine yourself and the space and life and, and the beginnings and the end of the universe. well, i think that we, we have to exercise a discrimination as well as sympathetic interest in our engagement with each other and in all of the experiences that the world office i'm not i'm, i'm not unhappy about the fact that there are more artists with doing more work than ever before. but it does, you know what i am proposing beholden share if you like. what, what, what the potential offers in terms of a place of co production of meaning. you, you, you don't, you don't need to answer the invitation of every work saying, look at me, i'm really, you know, i think that we the good thing about the proliferation allowed in our time, is that, that actually, everybody has to, in some senses, are simply for for survival sake decide quite quickly. this is something that is speaking to me. this is something that i want to in a way, invest time and attention to or not. and in every age, it's always been a lot of a bad art about up and, but i feel like now more than ever, especially with internet, anyone who is not lazy comes himself an artist shouldn't be. there is some sort of a mechanism to sort artist out of non artists in, well, i think that it's, it's not such a bad thing if everybody does that, they can have a go or he just puts a greater burden of responsibility on the look at to the to me who your shareholders share has to be the critic and the judge, which i think is fine artists, no longer wait for the approval of the elders and betters. they make shows for themselves in old factories or on the road or, or anywhere. and there's a sense in which i think all of the orthodoxies of an administered culture have collapsed. and you can say there are sad losses as a result of that. so the notion of counterculture has somewhat disintegrated in the face of this poorly formation of creativity. but i think on the whole, for me, the fact that now there are more galleries, there are more collectors. there are more shows means that there is a genuine collective consciousness about the creativity of our time. and in a way, the need to deal with it. so to decide what is worthy of your attention and what isn't. and i, i think that's in the old days you know, your football team, you'd no particular players. but in britain certainly you wouldn't know your artists and, but that's not true anymore. everybody's gotten opinion about damian and no one is arguing with that. everyone knows their artist said they're just wait a good thing. so yes or no, it's a good thing. but like, should there be some standards, i mean, imagine who's good to administer standards i o sounds like 984. i don't know. a ministry of beauty and no blue shaheen isn't important anymore in art today. put some sort of standards. i mean hear me out. imagine if incentive, you're amazing mind boggling. north angel. it was some weird installation that no one really understood, no standard, but it is art for someone else who made it. and then people have to look at it every day. are you going to do with it? i mean, it's not a piece of chicken. the cookie can eat for yourself and you're done with it. this is something that you put in a space, not your personal space, but you put it out there for people. i think this is a really good question. what it, what, what gives any one the right as it were to litter the world with things that were not asked for by, as it were, communities or people. when you do decide to work in collective space, i think you have to work with the collective body. so you say my angel is not my angel. i had an idea. but that, that, that idea was already a response to a desire over community. a community that had been told by the middle of the eighty's that it has no future that it actually had no meaning. i at this idea, i went to this place and had been told that it had no future and said what, what can we do? what can we do together to deny that in away government audit? and this was her amazing collective coming together. we found ship builders who could been ship plate to, to, to make the form of the body. we use this in a way analogy of the ribs of the ship to rethink the body as a vessel. and we work with the engineers of newcastle university with virtual reality department in sunderland university. it was really, there were maybe 200 people involved in the evolution of that and what was it? well, it's a very pre modern idea of art. this is a totem. this is a totem or a fetish that that is a focus of a collective belief in a place. the community of that place, in a way, the common language of making of that place, the angel of an, or stands in an industrial valley. we have hundreds of little factories down there, the other side, it's just moorland. and somehow this relationship it's, it's, it's, it's imbedded in the texture of real life. and that, that for me is the most magic thing is somehow by putting this object that, that wasn't there before into this place. does the place itself become reflective? and then you begin, you're, you're invited to think, what is the relationship between this moorland and these factories. and you, you're, you're invited to look at the landscape itself, not in the way that you might look at a close or own landscape painting. but the landscape itself as a picture, a picture that's telling you about human values and about our feeling about the future. it's been such a pleasure talking to you as well. sure, thank you. thank you very my thing every like and then they love it. o waller sisters are facing an increasingly dangerous environment. we are seeing a growing debate about so called warrior cops. the term that i've heard in the militarization of police. this is an amber vehicle we acquired through the 1030 food program, very free program with the government program that follows military property that if you no longer use to local law enforcement with building an army over here and i can't believe the people i see 1st thing an agency dealt with terrorism here because this began a feeling that hey, you have to deal with your harm for us. who are you putting in a uniform of the bed is a powerful thing. and for him to have like money in play, trick people, mine a big, bad nose wolf is out the door. very bad. johns are coming. good news. you have job security because the world desperately need to have a un, sorry. did the united states talking about shaman rice talking about press freedom? if you go to the tool, you've got a world, so book. in other words, she's got to be christian. you cast out on the one hand we believe in press freedom . but on the other hand, we're going to richmond, julia massage. and i think the hypocrisy of united states is try. she really makes a lot of people really mad about the caching turning here in australia where people just don't understand them, right. what is the starting citizen which comes down with now we have e cigarettes, i just heard that it was a healthy this and do we trust tobacco companies with their message that these new products are actually going to reduce these cigarettes or making the tobacco with a the west when to fall, that's the frank in violation of old international obligations and common sense they chose to escalate this situation. russia foreign minister does not hold back during his annual press conference with one topic dominating thought. major lake function, very good love roth. once again, i'd like moscow's red line. also coming up, the cia has reportedly been training a lead ukrainian special operations teams on master tree. mid month things engines with russia had more twists in the saga involving tennis superstar novato from which the world number one's visa is revoked. wellness again by experience, meaning he could face a 3 year.

Related Keywords

Germany , Moscow , Moskva , Russia , Athens , Attikír , Greece , Australia , United States , United Kingdom , Petersburg , Sankt Peterburg , Brussels , Bruxelles Capitale , Belgium , Ukraine , Britain , Greek , Ukrainian , German , Anthony Gormley , Antony Gormley ,