i'm not laughing at the germans because sometimes i am placed on nothing with attempting to be german thinks deep into the german culture yet you did seem to take this ground on their own belief because if the latter who care enough time rachel join me to meet again sunday of course. welcome to earth 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 on the human body she's one of germany's most versatile and best known choreographer the. photographic especially when national born in

iran the artist is a woman of courage she supports opponents of the regime in her home country and sees the self as a freedom fighter deploying the weapons of arms against the suppression of muslim women. the pressure 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. last pain. today she's an icon. we know all three these exceptional artists each has overcome a number of obstacles along their way an encounter with three unstoppable women.

spring in new york twenty ten in the museum of modern art marina abramovich ventures to do what no art has the for 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 her seventieth birthday. a woman who knows the effect she hurts a bit of a diva who and very intense. that mother.

forgiveness. long. known. marina abramovic has turned her life into ruthlessness she has exposed herself to pain. to discomfit. 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 discipline was more important than love. the trial that was painting my dreams and then i was writing poetry 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 paint something which is two dimensional so actually restricted what about going outdoors 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 the time internationally i was like a black sheep in the middle of nowhere and everybody was thinking i'm completely crazy this war is nothing this is not you can't call this art my professor the

shame of me my parents was criticize a party meetings and i just continued the only thing i had in that time it was my intuition somehow somewhere i was right up. this beautiful. past is more than skin deep. really she brushes her hair until his skull leads to criticize the fact that art should only ever feel beautiful. cause 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 to stop with the tree of that's exactly what i have to be done in my life to become something that i do with everything you know if i'm afraid of something or. panicking or i'm going to or norm i would do it. in

a city 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 renee shut 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 find extremely vulnerable yet i make it work. syrian national it is soft spoken and reserved and then precious when it comes to her work in turkey or in twenty seventeen her lifetime achievement was honored with the global arts price premium imperioli then it is familiar territory she's won several major awards here during the being only intended seventeen she had an exhibition at the revered pull out some of their career. the home 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. as their patient was a part of iran until the. nineteenth century so when i went as our asian i felt like i was going home to me that never goes back to iran being you know as i have asian was very sort of moving for me and it was township. as a persian is a multi-ethnic nation between the caucasus mountains and the caspian sea. here the muslims jews and christians lived peacefully side by side. the artist also asked her photos subjects about their notion of home and penned their own says on to their portraits in the home of my eyes sharing

a shot also questions herself. i've lost all flavor of what is the meaning of home by being nomadic or not homeless but the magic and it was a interesting because they're there things that they pointed out towards what was the essence of the meaning of home to them and certain reasons that with never ever allowed them to leave as i buy insurance of me questioning them a bad their 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 us 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 shirin neshat

could no longer go back to see her family. i think those years or 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 that they wanted to go home but it was a. possible because the airports were closed. 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 and you bond together like i have with my husband with my colleagues that i work with and we create our own community as the 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 the country of exile. collaborating and occupying free spaces is also familiar to. joining choreographer moved to berlin in the early ninety's 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 with actual votes and guests and says often 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 fiend sale of a new and choreographs her first success with don's piece there i lead

a cause 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. sasha 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 it's designed a performance in the courtyard and wings of an old private palace from the colonial era. is my son's at waterloo 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. travelling 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 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 side all of these techniques of consciousness and perception that i really developed an interest in studying dance council 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 possession of us isn't afraid of venturing into more abstract territory in fall when she takes dance back to its more ceremonial ritualistic origins while her early works were wilder and closer to daily life her later choreography is few more crafted or artificial for clear tour 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 for

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 found those things might be actually refers to 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 usually we're performing 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 prelims 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 abramovich. 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. her memoirs walk through walls were published in twenty sixteen.

the performance and more my last really the longest you ever did how did this idea. come to life i know it was very difficult i know that was the man the process but they also know that it was my new trance to learn to show to the public class formative for support for us and with absolute simply nothing. i've done this artist is present thinking that this chair will be empty because this new york nobody have time to sit and say it's crazy for as well to sit. front of the chair was very empty and people slept in the front of the museum.

and i was thinking why this important performance scripts are 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 read that there was will be something else going on to try to type of book into xmas so tired. of god sort of knowledge of non-communication or completely the ability to have emotions to have relationships augustine is susceptible right now so the public want to be part of something that they can back their own experience which will give to them. the situation for women in iran is the ever present theme for shirin neshat she created her first feature film in two thousand and nine. the story of four

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

and my photograph by master poets that i want. i somehow look up to woman particularly women that come from very oppressive societies yet are quite empowered just my friends to his stomach not shanta gums diminished and eventually yeah i know it all goes what index a young fellow did on economic conditions and then i mean i don't. i'm going to take a line the time is used to your mind then even just a few me then do me and mine of all these the three didn't const somehow because and i'm going to france right. there's a dozen pairs of i know that. he was talking to be he was in the states. that's just me i was. women without men is her most political film yes. 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 i asked my ideas do you think i'm a feminist they all said yes so gave using other fillers that no problem i'm extremely interested in. in woman in the way that. their lives no matter which country what culture they come from and that it's always does ality of the scene be fragile and vulnerable and yet extremely strong and defying. the latest film is dedicated to the egyptian singer foom a tribute to the icon of the arab world. the. burden. sharing their satellites to take a gamble. the. german

choreographers russia votes is also driven to new challenges as of twenty nineteen she will become the first ever woman to co-direct billion stars. traditionalists of the dance scene have severely criticized her appointment. for then i 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 the contemporary language to work with this diversity in these different possibilities of the body. in us and 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.

movie or some of it has never really cared much about what others thought of her hope 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 of the of the performance artists it was naked our glee blake order to white this is it really were very clean to wear and lipstick and nail polish you know fashion was totally disregard it's like a frantic feel of something that is ridiculous that is like the just you know kind of completely. idea that artist don't want to be like a kind of a bond and miserable i want to feel. and this and this really works with the with the sub with the you know just not just about fashion is about doing meditation winter retreats i'm going to have

a the place is in india i have the all system of actually how i work with my body my work a splendid doesn't twenty i don't space to breathe for the shows touring 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 itself. in the more recent where the artist has been tackling more unsettling issues like death. i mean you are where you. you know that you know that you're going to the last part of your life and you have to really concentrate on the most important things and i decide to be happy this is my main you know kind of

kindness. this isn't about that in seventy well i'm. good. but. i will say some more by buys some more things i think by by list is getting longer which would it be they also already say bye bye happiness by better suffering bye bye. intensity i actually will bring back i don't want to say bye bye to intensity i'm intense human. but i will say the bye bye bullshit. three artists three free spirits all made it to the top. and moved on and i don't want to always live with this sense of longing in this romantic idea of return i feel that i've come to an end of that chapter and my stories make concepts

my characters are altered changing what remains constant is myself. for me if you look for me the strength of dance lies in the fact that it's language is so much fear that's what makes it so grand being able to touch that secret behind as we watch. every normal luggage tell me a few through music ok require just that it can go crystal clear this isn't true this is what is still going to prove them i didn't put myself in any of all.

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first vice a moses sawing machine. where i come from women are followed by this ocean for even something as simple as learning how to write them by psychos isn't. since i was a little girl i want to talk about bicycle off my home and it took me years to been . finally in the game bob and mental buying and i say that and returns because sewing machine sewing i suppose was more apt pro-create for those than writing advice as knowledge i wasn't. those woman back home where bones by the gym and social norms and inform them about the basics like. my name in the about of the hook and i wore these i'm.

sure no just couldn't get this song out of his head. musicologist began searching for the source of these captivating sounds. deep in the rain forest in central africa. the bulk of people. that. feel nothing else. and let's look at libor plus the anyone. money legal costs. to buy their culture has stayed close. only a promise to make sure no leave the jungle and return to the concrete and glass jungle . the result reverse culture shock. was the prize winning documentary from the forest starts first on t.w.

. played . this. live from fears of a cholera epidemic and was having hundreds of people contract the contagious disease following a devastating strike the last numbers of people displaced at risk. just relieved that it has a warning office seconds just last hour also coming up. thousands of palestinians marked the anniversary of the week of protests but the event turns deadly with four palestinians killed and more than three hundred injured in clashes with israeli forces.