when it comes to the fans of humans and singer my the foals who hunt decide to put their trust in us. my name is jenny paris and i work at the album. welcome to alice twenty one today with three remarkable women. the revolution three done so change through movement the sash of arts has redefined our concept of space of the human body she's one of germany's most versatile and best known choreographer the. photographic special

national born in iran the artist is a woman of courage she supports opponents of the regime in her home country and sees a south as a freedom fighter deploying the weapons of arms against the suppression of muslim women. the price she must pay as a life in exile. the undisputed queen of performance art marina abramovich one of the most radical artists of our time she uses her own body to convey her ideas and explore boundaries. of trust remember the last page. today she's an icon. we may suppose three these exceptional artists each has overcome a number of obstacles along their way an encounter with three unstoppable women.

bring in new york twenty ten in the museum of modern art marina abramovich ventures to do what no artist before her has ever attempted a seven hundred fifty hour performance. for three months she sits on a wooden chair silently looking into the eyes of her visitors an existential experience. the artist is present is the performance which makes marina abramovich a legend. also in twenty sixteen we meet her in new york on his seventieth birthday. a woman who knows the effect she has a bit of a diva cool and very intense. mother.

forgiveness. long. said. no no. marina abramovic has turned her life into ruthlessness she has exposed herself to pain. discomfort. even danger ever since the one nine hundred seventy s. . abramovich grew up after world war two in belgrade the capital of communist yugoslavia. had parents the partisans who had fought the nazis during the womb. the father was a high ranking officer and mother historian it was

a strict way discipline was more important than love. the trial that was painting my dreams and then i was writing poetry and then ever thought occurred to me and then i start painting and then from the painting somehow come this old idea of making a performance i really was thinking to be in the studio in and paint something which is two dimensional so actually restricted what about going out or what about using fire the water using the elements using the own body using your own blood and your own emotions and creating art with that and this was really my beginning and of course with this inexorable slavia which had been the early access to the other ideas similar in that time internationally i was like a black sheep in the middle of nowhere and and everybody was thinking i'm completely crazy this war is nothing this is not you can't call this art my professor. we parents was criticized on party meetings and i just

continued the only thing i had the time it was my intuition some hole somewhere i was right. if you. continue to. be. harassed is more than skin deep literally she brushes her hair until his skull leads to criticize the fact that art should only ever feel beautiful. if i caused the pain to myself in order to free myself from pain the pain is ok this was exactly you're not you're free the pain stop with pain free of that's exactly what i have to be done and in my life it became something to do with everything you know if i'm afraid of something or. panicking or i'm going to on or i would. need to be rainy and shirin neshat uses her work to come to terms with her home

country. when the islamic revolution swept through iran in one nine hundred seventy nine she was living in the u.s. . she didn't return to iran until a decade later it was the last visit. these photos of her response to the country's altered cultural landscape women who wear veils but exude self-confidence nonetheless i myself i mean obviously one. yet i make work. syrian national it is soft spoken and reserved and then precious when it comes to her work in turkey and twenty seventeen her lifetime achievement was honored with the global arts price premium imperioli then this is familiar territory she's won several major awards here during the b. in only in twenty seventeen she had an exhibition at the revered billard summer zero career. the her. of my eyes is

a series of large portraits. measured photographed men and women of all ages in azerbaijan neighbor to iran and former member of the soviet republic each person has a similar pose. the same way john was a part of iran up until the nineteenth century so when i went i was average and i felt like i was going home and me that never goes back to iran being as i have a joint was very sort of moving for me and i was that. azerbaijan is a multi-ethnic nation between the caucasus mountains and the caspian sea. here muslims jews and christians live peacefully side by side. the artist also asked her photo subjects about their notion of home and penned their answers on to their portraits in the home of my eyes searing

a shot also questions herself. i lost all flavor of what is the meaning of home by being nomadic or not homeless by the magic and it was a interesting because they're there things that they pointed out to were that what was the essence of the meaning of home to them as certain reasons that with never ever allowed them to leave as i buy insurance of me questioning them a bad they're in their relationships as a concept of home was really my own self looking into the mirror and asking those questions to myself. shirin neshat enjoyed a middle class liberal upbringing and went to a catholic boarding school in tehran early on she knew she wanted to be an artist when she was seventeen she went to the u.s. to study the western backed shah was still in power at the time. then in one nine hundred seventy nine he was overthrown and the islamic fundamentalist ayatollah khamenei took over young she. a national could no longer go back to see her family

. i think those years were the most traumatic years of my life this separation became really critical for me as a young person who was not quite at ease with the american quarter and theirs but they wanted to go home but it wasn't possible because the airports were cause. and american relationship broke down and the war with iraq had become so serious that my family just said please don't even think of coming back before you know it you find other people who are in the same situation you bond together like i have with my husband with my colleagues that i work with and we create our own community as survivors and we made arts and and then you end up creating pioneering your own lifestyle that is not magic.

the film royer shows how little shirin neshat felt at home in the usa her country of exile. collaborating and occupying free spaces is also familiar to sasha votes to join choreographer moved to berlin in the early one nine hundred ninety s. shortly after reunification. the transitioning says he was an elder rather of sorts for the arts fringe anything was possible. it's found at the dance and songbook his actual votes and guests and set off on a journey into the on. a list was total i didn't want anything one dimensional where you say one thing and everybody understands the same thing. that's pretty boring to me. soon discovers there's a female a venue and choreographs her first successful dance piece they're on later or

avenue of the cosmonauts. and offbeat provocative production part of a trilogy on the absurdities of domestic life. the company spent months researching in the communist era housing complexes of east berlin. russia votes travels the world with her company in twenty thirteen they received an invitation to kolkata. in collaboration with indian choreographer padmini chitter and her ensemble sasha votes designed a performance in the courtyard and wings of an old private palace from the colonial era. is my sons and i was out of the project in calcutta was very unusual it was set in

an old palace and it led a different kind of storytelling emerged that way the rooms had been sealed off it was as if the life that had taken place there before had stood still and it was like a fairy tale where everybody had fallen asleep in time passes over them the pictures on the wall fade dust settles everywhere. traveling has always been a part of the way we see ourselves right from the beginning it defines our longing and our self image of first then. initially but it's danced along with her ensemble she was seeking new forms of expression also with other performing arts dance alone has never been enough for her up from i started taking dance lessons when i was five until the age of about twelve. it was only after. i discovered post modern dance and contact improvisation with some doll of these techniques of consciousness and perception that i really developed an interest in studying dance concert studio

during a five year stint as an artistic director of bilin shall be in a theater it's created one of the most significant productions coppa. it's an exploration of anatomy that delves into every aspect of the human body both inside and out. time and again the company conjures images that see themselves into the view is memory like a nightmare. at the same time isn't afraid of venturing into more abstract territory in fall when she takes dance back to its more ceremonial ritualistic all regions while her early works were wilder and closer to daily life her later choreography is feel more crafted or artificial for clear too if she transforms dances into animalistic creatures and explores social issues. of our gravity your mother was a gallery and your father an architect. so you may have inherited your talent full

strong visuals from the one side but space has also always played a key role in your work what you look for in a space what appeals to you. as money actually rehearsed or building sites a lot of the jewish museum had only just been completed it was still empty and the collection hadn't been installed yet and usually we're performing at that special moment before the space assumes the function it was designed for. it's exciting because that's the moment that breathes life into a space like that became really clear to me with our work for berlin's noise museum the space had this incredible energy. choreographed exploration of unusual buildings is just one facet of her work.

celebrated opera premiers have followed. many of the world's major opera houses are now open to paris rome tokyo and berlin she oversees the entire stage production transforming even the unwieldy medium of opera to give it her own signature. back to marina abramovic which. a major retrospective of the exhibition the cleaner has been touring europe since twenty seventeen. marina abramovich larger than life a true icon. her art has changed many people's perceptions. and then was walk through walls were published in twenty sixteen.

performance and more my last really the longest you ever did how did this idea. come to life and more was very difficult i know that was you were the man the process but they also know that it was my new trance to learn to show up to the public transformative for support for us and with absolute simply nothing. other than this artist is present with thinking that this chair will be empty before this new york nobody have time to sit her same screen is it was weird to sit . front of the chair was never never empty and people slept in the front of the museum.

and i was thinking why this important performance got such a credible you know attention i think because the public right now is so much ready for this kind of experience twenty years ago was not the right that there was will be something else going on to try to now we are so tired of walking things was so tired. of god sort of quality of not communication completely not ability to have emotions to to have relationships august right now so the public want to be part of something that they can back their own experience which will give to them. this situation for women in iran is the ever present theme for shirin neshat she created her first feature film in two thousand and nine. this story of fall completely

different women wishing to escape their lives. he speaks. but. a woman without men was based on a great novel and that's a clear list novel written by one of the most important iranian women writers who have lived in exile. and you know i have often written poetry and my

work and my photographs by mass are poets that are women i somehow look up to woman particularly women that come from there they oppress the societies yet quite empowered by french to his time of economic shanta comes diminished and eventually yeah and if all goes well indexer young started on economic integration front and then i mean i don't want. a job that used to unite and then evaluate just a few me then do me and mine have always been reading const i'm happy and i'm going to france where i had. established as a base of i know. it was this talk going to be with you stayed. at it i did that's just me i was. women without men is her most political film guess. she wasn't able to shoot in iran. the

film won a silver line at the two thousand and nine bennis film festival. are you a feminist artiste this question has been asked for me a lot and i was asked my audience do you think i'm a feminist they all said yes so confusing other film is that no problem i'm extremely interested. in women in the way that. their lives no matter which country what culture they come from and that it's always this. seemed fragile and vulnerable and yet extremely strong and they find. the latest film instead of catered to the egyptian singer quote fool a tribute to the icon of the arab world oh. the. more cheering their satellites to take a gamble. the. german

choreographers russia votes is also driven to new challenges as a twenty nine team she will become the first ever woman to co-direct billion starts . traditionalists of the dance scene have severely criticized her appointment. for and think it's a great opportunity for dance to explore these extreme positions i want to preserve classical ballet on the one hand and create space on the other hand for contemporary choreographers with a contemporary language to work with this diversity in these different possibilities of the body. again and thus. should be able to create an ensemble that can work with these extremes extreme or. new challenges in twenty nineteen it's certainly not an easy course.

moving the brim of it has never really cared much about what others thought of her . public image is again she has the will to be different to be happy to glow in her own way. if you look at the funny performance fashion of the of the performance artists it was make it ugly black or dirty white this is it with any other thing to wear and lipstick and nail polish you know fashion was totally disregard it's like a fairy tale it's something that is ridiculous that is like you know it's just you know kind of completely borger idea that artists would look like that they don't want to be like a kind of abundant and long and miserable i want to feel good and this and this really works with the with the sun with the you know just not just about fashion is about i do meditation winter retreats i'm going to wear you away the places the

media i have the also off to actually how i work with my body my works plan two thousand twenty five to space to breathe for the souls to bring you know your performances and trying to do different projects collaboration works so all this mess and then comes this island of quietness which is the performance of self. oh. in his more recent works the artist has been tackling more and settling issues like death. you are you. you know that you know that you're going to the last part of your life and you have to really concentrate on most important things and i decided to be happy this is my main you know kind of kindness. this isn't about that is

seventy five bought. the. good. i will save some more by buys some more things i think by by and this is getting longer which would have been they also already say by by a happiness by by suffering by by. intensity i actually will bring back a moment to say bye bye i can tell i'm intense you and i but i will say the bye bye bullshit. three artists three free spirits all made it to the top. i moved on and i don't want to always live for it there's a sense of longing in this for one thing i do have returned i feel that i have come

to an end of that chapter and my stories make concepts my characters are altered changing what remains constant is myself. for me to come in the strength of dance lies in the fact that its language is so much freer that's what makes it so grand being able to touch that secret behind as we watch. every dog leg tell me it's communes bookings apologist i can go through this is really this is why it's so good if you know all three of them i didn't put myself in any trouble at all.

most of. the sounds of song are not gruesome. bad choice of germany winner id queen a. man and songwriter some phoebe hawking. almost. fifteen minutes long t.w. .

what secrets lie behind a small. find out in a marsett experience and explores fascinating world cultural heritage sites. d w world heritage three sixty fifty. comes time to take one step further. and based on the. time period just. such the knowledge and the fun for the translator time to overcome boundaries and connection to cut it's time for w. d w d is coming up ahead for minds.

sarno just couldn't get this song out of his head. college just began searching for the source of these captivating sounds. deep in the rain forest in central africa. the body aka people. and. nothing else. unless the in the fleet able. to move the anyone say they. believe that. he was so fascinated by their culture that he stayed close. only a promise to. the jungle and return to the concrete and glass jungle but. the result reverse culture. the prize winning documentary from the forest starts people first on t w.

play. play play play. play this is the w. news live from berlin it was the day bright said it was supposed to happen instead new chaos and uncertainty as british lawmakers reject another deal to leave the e.u. thousands of lead supporters filled the street. for all of us planned as a celebration instead they're calling it a betrayal as parliament votes down teresa mayes but for a third time we'll ask our correspondent want might happen next also coming up millions of algerians are out in force with their weekly demands for fresh relax.