what secrets lie behind these must. find out the members of experience and explore fascinating and cultural heritage sites. d.w. world heritage three sixty. welcome to alex twenty one today with three remarkable women. the revolution three done changed through movement. has redefined our concept of space and the human body she's one of germany's most versatile and best known choreographer. 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 self 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. trust remembrance loss pain. today she's an icon. we miss all three these exceptional artists each has overcome a number of obstacles along their way and encounter with the 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 her seventieth birthday. a woman who no forgiveness. or. long.

known. marina abramovic has turned her life into art ruthlessly she has exposed herself to pain. to discomfort. even in danger ever since the one nine hundred seventy s. . 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. had father was a high ranking officer and mother historian it was a strict discipline it was more important than love. the trial that was painting my dreams and then i was writing poetry then ever to art academy and then

i start painting and then from the painting somehow come this all idea of making a performance i really was thinking to be in the studio in paint something which is two dimensional. 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 are the in 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 world is nothing this is not you can't call this art professor shame of me my parents criticize our party meetings and i just continued the only thing i had the time it was my intuition somehow somewhere i was right out of your.

beautiful. past is more than skin deep literally she brushes her hair until his skull leads to criticize the fact that i should only ever. cause the pain to. so in order to free myself from pain the pain is ok this was exactly you're not you're free the pain confront the self with pain the tree of that's exactly what i have to be done and in my life to become something to do with everything you know if i'm afraid of something or you have a panicking or i'm going to or norm i would do. 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 shirin neshat was living in the us. 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 saw fragments of extremely vulnerable as a woman yet i make it work. syrian national it is soft spoken and reserved and ambitious when it comes to her work in turkey and twenty seventeen her lifetime achievement was honored with the global arts prize premium imperioli venice is familiar territory she's won several major awards here during the be in a in twenty seven team she had an exhibition at the revered bailouts of maceo career. the home of my eyes is a series of large portraits. national treasure craft 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 she was a part of even until the nineteenth century so when i went as i have asian i felt like i was going who me that never goes back to iran being you know as i have a child was very sort of. moving for me and establishing. 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 own says on to their portraits in the home of my eyes siri misha also questions herself. i lost all flavor of what is the meaning of home by being nomadic or not homeless but now magic and it was very interesting because

there there things that they pointed out towards what was the essence of the meaning of home to them certain reasons that with never ever allowed them to leave by a chance of me questioning them a bad their their relationships as a concept of home was really my own self looking into the mirror and asking those questions to myself. cheering measured 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 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 that they wanted to go home but it wasn't possible because the airports were caused iranian and american relationship had 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 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 hall 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 of us discover is this a fiend's i live in you and choreographs her first successful dance piece there and later cosmonaut 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 her and her ensemble it's designed a performance in the courtyard and wings of an old private palace from the colonial era. but. 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 it taken place there before had stood still alive 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 one's will sense first and. 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 feel 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 improvise ation 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 berlin 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 as us 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 feel more crafted or artificial for clear too if she transforms dances into animalistic creatures and explores social issues. of our girl of 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 hear fund those things might be 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 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 this and that became really clear to me with our work for berlin's noise museum the space had this incredible energy. the 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 each. major retrospective exhibition the cleaner has been touring europe since twenty seventeen. marina abramovitch larger than life a true icon. her art has changed many people's perceptions. her memoirs 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 i know i 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 up to the public class formative force of performance and with absolute simply nothing. other than this artist is present with thinking that this trip will be empty before this new york nobody have time to sit and say it's crazy it was going 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 gets you know attention i think

because the public right now is so much ready for this kind of experience twenty years ago will not be ready there was will be something else going on to try to tired of walking to swim so tired. of god sort of quality of north korea. completely not ability to have emotions 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. 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. this story of fall completely different women wishing to escape their lives.

but. woman without them was based on a great novel and magically in a small vault written by one of the most important iranian women writers who had lived in exile. and you know i have often written poetry and my work and my photographs by master poets that i want. i somehow look up to woman particularly

women that compromise very oppressive societies yet quite empowered by things to his daughter be sent to guns diminished and eventually yeah and if all goes what indexer young founded on economic inventions meant nothing i don't condone. a time it used to your mind then even just a few mean men do missions might have always been fleeting const somehow because and i'm going to france right. there's a bunch of pairs of and. he was talking now if that was the state. it's just me. 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 artist this question has been asked for me

a lot and i was asked my ideas do you think i'm a feminist they all said yes so if you sing over the phone as i have 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 does. cindy fragile and vulnerable and yet extremely strong and defying. the latest film is dedicated to the egyptian singer quote foom a tribute to the icon of the arab world. oh. the. cheering i should like to take a gamble. the. german choreography is a show about 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 the entire 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 a contemporary language to work with this diversity in these different possibilities of the body. in the us. should be able to create an ensemble that can work with these extremes extreme or. new challenges in twenty nineteen really not an easy course. from a bitch has never really cared much about what others thought of her her public image is again she has the will to be different she'll be happy to be low in her own way

. if you look at the funny performance fashion of the of the performance artists it was naked ugly blake or dirty white this is it with any other thing to wear and lipstick i'm a 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 not look like 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 purchased about fashion is about i do meditation i'm going to retreat so i'm going to wear you away the places in india i have the all system off to actually how i work with my body my work is playing 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 searching issues like death. you are where you. you know that you know that you're going to the last part of your life and death you have to really concentrate on the most important things and i decide to be happy this is my main you know kind of kind of the same. the situation about that in seventy five i bought.

the. good. i will save some more by buys some more things i think by buying leases getting longer which would it be they also already say bye bye happiness bye bye suffering bye bye . intensity i actually will bring back i don't want to say bye bye to intensity 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 with this sense of longing in this romantic idea of return i feel that i have come to an end of that track terror and my stories make concepts my characters are changing what remains constant is myself.

can you still claim me the strength of dance lies in the fact that its language is so much fear that's what makes it so grand being able to touch that secret behind as we watch. of an old luggage tell me things to me as a book is a quality just i can go through this is the truth this is why it's so good well. i didn't put myself in any of all.

this.

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