he is in berlin with an installation that explores her country's lingering trauma at the hands of one time germany not ours. and giovani contacted the uses an unusual medium to create his stunning large format portraits namely the rubik's cube or should i say hundreds of them. well the fiddly stuff palace theater in berlin is a place that lends itself to surprise it's got the world's largest stage which can hold the world's longest chorus line it's berlin's glitziest night out and it looks back on a century of spellbinding and chain mint and for the occasion of its 100th anniversary it's honoring its jewish founder as a statement against his. death defying acrobats and perfectly synchronized dances. up to

780000 spectators a year visit palin's rejects stock past the world's biggest yet to stage. the dancers work long hard hours until the show is absolutely perfect they master everything from classical ballet to jazz dance. to me is bizarre and there's what i see is very special here is simply this incredible stage and experiencing it every day it does it wants to be on stage and here you have the opportunity to be on it every day as much as 8 times a week that's my personal highlight this is my life as i like. every 2 years the freidrich stop palace premieres and only show up superdelegates. for each production new costumes are created by big game designers like sean paul gaultier. kristen aquash. and penetrate. i the

production costs for this show called 15 amounted to some 12000000 euros but it broke even a long time ago. it all began in this old market home. in 1980 s. a director max winehouse opened his truth to special spiel housefull grampians up starting in 1924 families all refuse representative hollywood star mom. when a teacher she wants to dance in the course line. in the 1930 s. operatives like frau do nothing played to sell out houses in the sixty's now in east germany the stage hosted international stars like ella fitzgerald and josephine baker. in 1900 the old building was torn down. 4 years later the new one dope and its doors this is where the former g.d.r. put its best foot forward until the fall of the berlin wall in the 1989. the new production is already in planning in summer 2020 the freidrich top class will no

doubt prove that it can be bigger better and even more amazing. well it's yet another dark chapter of german history that when namibian communities rose up against colonial rule in 1004 in former german south west africa imperial forces responded with decrees of extermination well the result was the near annihilation of the herero and the nama peoples in 2004 the german government formally recognised the atrocities and issued an apology but to date no reparations have been paid well now namibian artist isabel is addressing this national trauma with an installation here in berlin. ancestors are one of them being tried as the german colonial power tried to obliterate over a century ago. with her exhibit here in berlin. gives a voice to those who were silenced they tried to various you know they they they

tried to kill the whole. ethnic group the heroes. and they didn't succeed you know we're still here when we're here to tell the story . from 1004 to 1908 the german army brutally suppressed the herero unama rebellion killing up 210-0000 people or more. the 1st genocide of the 20th century shaped modern media descendants of victims were displaced today 70 percent of private land remains in white hands germany has returned remains of victims to be buried properly and has so far refused calls for reparations. the. fragile masks of the artists own face lie half buried in sand the work feels like an untended mass grave people catch a v.v. hopes to start a discussion about the crimes of the past before they are for god we're to our biggest thing is acknowledgement to acknowledge this history to acknowledge that it

happened because for so many years it's just been denied. german. has finally stopped denying what happened in the may be but the path to healing more than a century of trauma has barely begun. for a very moving installation and joining me in the studio is scott ross perot who made that report welcome scott more than a century of trauma you said there caused by this is genocide more than 100 years ago it's a trauma that's ingrained in the psyche of namibians what was it like to actually experience this work you know it's interesting it's actually quite disorienting as you're as you're walking over the sand over these all of these places i was really scared i was going to step on one and break them because a very very fragile but is about that if you told me actually that's sort of the point i mean she made the point that even to get to this exhibit in berlin you have to go over the holocaust memorial because it's quite nearby and she said she want

to make the point that we're walking in our cities over or you need an ordinary streets we're actually walking over history and we're walking over over over forgotten graveyards and that we should we should be remember that and tried carefully i'm believable now is that that catch of you to herself has of course a deep historical connection to to this genocide and these events in the media but also very personal connection can you tell us that you know her father is peter cotty v.v. who was the fall ambassador to germany from the b.b. to germany and he was very key in getting remains returned to me particularly there were skulls that were brought after the genocide to germany and presented as sort of an example of whites a period already and a number of these schools were then finally returned to the bia in the in 2011 and they were just incredible scenes of sort of mass celebrations people stormed the airport to to see these these these skulls being returned and it really is vip pickel important because thing about this genocide that makes it even more

tragic is they don't know where the bodies are buried so there's not even a. place they can go to to memorialize their answers so what isabel's main goal with this installation well she is in favor of reparations she is in favor of returning of artworks and so forth but what she told me was that her main point is to get people to acknowledge this trauma that is possible for people maybe to move beyond it and she said what she definitely doesn't want is the modern people of germany to feel particular sense of guilt or shame about the past let's have a quick listen to what she had to say earlier today if you they themselves don't do anything and i think what they need to do is then just come to the table and help us you know get this history into the limelight get it known and everything just help us on our journey of healing. scott it's such a huge issue how how can art to what extent can really heal. is the big

question but i think at least we can start the process i think art is something that can express issues that are very difficult to express directly and i think with with her work she is trying to look at the trauma of her people but do it in a way that makes it understandable for someone outside 1st for maybe the entire world and maybe a star if we can begin to understand the extent of this trauma maybe that is the 1st point to begin the discussion to begin a process of you we talked about repatriation of ancestral remains and it's interesting that germany just yesterday returned the largest number of aboriginal ancestral remains to australia ever are we're seeing a larger international effort to return these kinds of colonial spoils to their rightful homes what does this potentially mean obviously for museums all across europe well i mean if you take it to the logical conclusion it could mean you'd have to clear out a lot of museums because huge numbers of big museums in europe south america are

still just boils over and so forth i'm not sure that's ever going to happen but i think these discussions are being happen museums all over europe europe now and they have to be had i think that's the main starting point and a lot of these works will be returned as they as they should be but i think the important thing is as isabel said we need to have discussions need to acknowledge the trauma and the loss of these people as a way to as a starting point to go forward well they try to bury us a very moving installation by is about. on until december 8th here in berlin just a short time scott ross perot thank that's very much for bringing us that background. and we'll finish off with a puzzle that giovanni cantante can transform into art 1st of all the 24 year old italian is a whiz on the rubik's cube he can solve that in literally seconds which i already find amazing but he doesn't stop there because he's also a pioneer of rubik's cube art so let's get him to show us how it's done. giovani

come tardy puts more than $700.00 cubes and as much as 2 hours into each of his portraits what he doesn't put into them is glue either the frame holds the cubes in place or the image falls to pieces as soon as it's completed he has nearly 350000 followers on instagram he generally makes portraits of famous figures some of the stars share the images on social media winning him even more followers they share his fascination with the cubes. when people look at you solving a cube in 10 seconds think of someone from another planet same is with the artwork but it's something more fascinating than tarty started out by setting records he said an impressive 60 italian records 9 european ones and 3 world records he solves the rubik's cube in less than 10 seconds even underwater.

giovani khan tarty lives in the town where he was born pediatric participates he's able to live from his art and is even under contract to the new york city gallery that sells his works to collectors around the world for 5 figure songs but he sees no need to leave peyser he's done a portrait of the town's most famous son opera composer giacchino rossini good publicity for the opera himself and the town. is very important. outside of here for 4 years. during. that experience or no i love there i don't find a story how i like my road being with friends i grew up where my family of course. from the very 1st cuba took giovani cantante only about 90 minutes to complete this mona lisa uses over 700 rubik's cube constructs the portrait line by line

taking short breaks now and then that's important because it's easy to make a mistake but extremely difficult to fix it later on. of course the very last block is a 0 waste satisfied. saw fascinating stuff well he'd like to see it again just pay a visit to our website not brings this week to a close and so until we meet again all the best for myself and the team bus routes and from berlin up i.

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