this is the of the undercurrent i was daylight didn't intend it as an exhibition but as a stand against the injury of man by man of using artistic remains. from a starting point was there. i wanted to create an atmosphere similar to the countryside in the autumn when the first snow falls and the instruments of torture such as plows and harrow stand idle on the plowed field that has finally come to rest after being exploited by men fall fatality. it creates a sort of melancholy white feeling of pollination. and the torture devices on the soil there poetess sized. in one thousand nine hundred three the first stop in the world tour of man's inhumanity series was the national gallery in budapest. booker also wanted to take this series to other former east bloc countries in the early one nine hundred

ninety s. shortly after the political upheavals in europe hungary was still and young democratic republic a society in transition. the exhibition includes references to the old testament words that describe injury evidence of a long history of aggression and violence words like extermination gassing forgetting. torture. they have that. in the local language i wrote one hundred twenty in white on the floor and a plaque on the wall so here in budapest there are sixty words in black on the wall

they've. been. taken from the old testament they deal with the suffering of. violation of humanity by humans. namely gassing. in association with forgetting. and then the word smacking in the sense of breaking up which is really a modern neologism used by radical right wing groups that. we still know the whole story of. the fight against the turks and the dominance of

the austria last perhaps. the people always fought for individual freedom the concept of freedom. came. this is in fact a place of oppression people always clung to their humanitarian visions and eventually realized that. hungary proved its role in exemplary fashion and the political events between east and west. directly to the up people and destruction of livelihoods. after the nuclear reactor disaster in one thousand nine hundred sixty he created the work pictures. i want to create images that are incomparable manifestations of inner expression he said i send signals and expose myself.

and see this record it was deeply frightening and it challenged my whole artistic approach. before that you have to bring our world is bloody and we can't ignore that fact by idealized tandi imagining a beautiful wow and that would make us ignorant towards others others who live in different conditions and we would ask ourselves become victims of this delusion and . have found that you are the one who got off of. booker says when i work i don't think i only look at the work when it is finished everything happens through an intern assess a-t. . to have it mr britling of last year then i'd lie on my back on the canvas and makes do with glue. to cryptically express like an epileptic things that are inexpressible and even inconceivable that i thought this

was the only way because where the language fails is where the image starts. i could say that images can capture what oppresses and threatens us. it was and in an assessor to to make these pictures. they incurred my almost epileptic expressly because i could neither write about it nor utter at quantity. the ash pictures in the old port of dissolute or not far from a studio. art as a warning voice and seismographs. shrieking that has a hood the fact that something invisible could be so dangerous is terrifying and it's dangerous out there and maybe there's a comparison with. who created window painting this as the brown tide passed by on

the street that he was banned from painting that it is dangerous outside because of people's aggression and. this is the former concentration camp near weimar where in one thousand nine hundred nine ok built a karen a stone monument against forgetfulness. it was a warning at a time when right wing ideas were on the rise again. in the former concentration camp canteen found a way to recall the suffering of the inmates and attempt to express the inexpressible by artistic means. he wrote the names of the people who suffered here on the canteen floor.

is that i guns these to go it was a very important place in the tents interplay between life and death it's a kind of place of survival. that unlike the gas chambers in the torture chambers that we also find it. an act of sorrow. and of compassion. in the me dying i was there that i put together a memorial i'm using the same stones from the same quarry. i drag them into the canteen and pile them up wrap them in fabric and wrote the names of the people who

had once been held that. i have to. mention. that allow me to do something with the deepest emotional awareness. and convey in the most impressive manner. that it was also surviving and living the defined the people in these camps. you mentioned bush didn't.

so it's always presumptuous to do this but there's nothing more we can do and i think that this place has now found an expressiveness that recalls what was once down. in his dissolute studio. in the late one nine hundred ninety s. he worked on a commission from the german government panels for the prayer room in the newly restored reichstag building in berlin. again he dealt with his central theme oppressed and damaged people he used the simple materials that he employed in his works from the very outset nails paint sand stones and.

created seven panels for the reichstag chapel the work seems to allude to the passion of christ. if this concept of paradise is destroyed and disillusioned by the fact that rocks into it from behind and.

i think this disillusionment of an idealized reality is quite important for the beginning of this era. the stations of the cross. throw the first stone and. is as innocent as we. so what's on the left side is then transmitted to these two panels that signify places of pain from. romans crucified jews in the place called calvary. the horror that was repeated year after year. that's why these two panels are painted directly to the left and right of the altar faffing.

the panel set out on their journey to berlin the new capital of the read united germany. and. the artist from disorder with roots on the baltic sea had been asked to design these special works. the panels were to be installed in the reichstag building the seat of the german parliament to adorn a quiet open contemplated space. in the weeks when parliament is in session a christian prayer is offered up before the daily business begins however the space is essentially open to all religions as

a place for contemplation and meditation. this time to book or wasn't willing to allow anyone else to supervise the installation of the work and was prepared to roll up his sleeves if need be. that matters on baby it makes is richer to expand our approach to god in the history of our own judeo christian faith got to. know this experience could help make the message of peace and love more workable. because then we would not need to consolidate the boundaries that separate us from other religious denominations. north through faith if we are willing to

enter into this dialogue. bam haps the message of peace and love will be fulfilled exactly the you live aboard that to me is actually already a fact. the one attack though. in the autumn of two thousand and three booker traveled to lake lucerne and switzerland. stefan murky director of the national theatre environment wanted to perform friedrich schiller's play william tell on the would lead meadow and asked the court to design the stage according to legend this is where swiss rebels took their vows and founded their country the hood the meadow is sacred to the swiss. watch maker indicated and then to claim that. they were in a little while for. a

few weeks later booker started to put his idea into action. he needed sharpened tree trunks for the twenty six sculptures he wanted to place on the meadow twenty six the number of swiss cantons. each tree trunk was between six and nine meters long. the project took weeks and was a logistical tour de force. piece by piece the stage was assembled. a sort of forest emerged from the logs ropes and boulders between which the actors

would later moved. the seating can accommodate two thousand seven hundred people and crowds flocked to the ridley to experience because stage sculpture. in the summer of two thousand and four two hundred years after its first performance william tell was staged amid the prayers artwork. from.

havana two thousand and fourteen. the world tour of the others man's inhumanity series arrives in cuba. they are does offer you say exactly that the how it makes me very happy that these words can now be seen in cuba. and they result in something of like an illiterate dialogue conclaves president language one that you can actually communicate only in pictures showing us. the music. as artists in havana was the last foreign stop of this work. over two decades the artist had taken his troubling exhibition around the world some viewers were disturbed by it and once there were even street riots but in all that time it never

left people untouched. everywhere it went booker laid his work out himself and constantly saw it in a new light he was interested in places where societies were in up evil where people could directly understand the message of this work. because in the game it turns out that this theme of man's inhumanity and the threat to man from man continues to this day and this time and the success of this exhibition has actually terrible because the issue has remained the same right if not actually gotten worse. the guy who could be as open if not just by.

your armor then there is a very well suited because they give you any site into the relationship between the individual woks. you can see almost all the pieces at the same time but they still have their own special places. you in for i find this exhibition which will be almost the last. has once again proved timeless because violence to people still continues. a mention in the. always returns to his home on the rhine. where he was a professor at the arctic cademy for twenty years. and he returns to his studio his work.