Redescubrir Venecia –antes de que muera asfixiada por el turismo de masas y la especulación inmobiliaria– significa ir al encuentro de sus habitantes resistentes. La ciudad pierde cada año cerca de mil venecianos. ¿Qué pasa con una ciudad sin el alma de sus habitantes sino un gigantesco parque de atracciones? Encontrar Venecia significa salvar a sus artesanos que han decidido no abandonarla y redescubrir la memoria de su patrimonio. También significa prevenir lo que amenaza su futuro.
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00:00Redescubrir Venecia.
00:30Of the 15 apartments that I will have rented here in Venecia throughout my existence,
00:36this one had caught my attention a long time ago, but it was too expensive.
00:41After 60 years, I decided that it was time.
00:46Maybe I was also convinced by COVID, because it was already good to leave things for later.
00:53For example, leaving for later the idea of making a film about Venice or making it in Venice.
01:00So I returned in March 2021, in the middle of confinement.
01:05My head said, I can't miss this.
01:09Not only for discovering deserted Venice, but for the same reason why I would not leave a friend in the stables.
01:17During confinement, in Venice, as in the rest of the world,
01:23time did not stop, but slowed down, slowed down to the extreme.
01:29I remember a novel by Milan Kundera, La lentitud, in which he wrote
01:35Why has the pleasure of slowness disappeared?
01:39There is a secret link between slowness and memory, between speed and oblivion.
01:45Our time is obsessed with the desire to forget, and to make this desire, the devil of speed is delivered.
01:52So, taking your time, going slower, is not a posture, or not necessarily.
02:00Sometimes it is a program, a program of resistance.
02:04SILENCE
02:21At the end of confinement, I was eager to meet those people who in Venice resist in their own way.
02:28They have decided to continue living and working in the city.
02:34They often ask me what I do with my time in Venice.
02:39I answer that I never get bored.
02:44What makes Venice an absolutely unequal city is painting.
02:49There is no church, museum or palace that does not offer a canvas of a Bellini,
02:54a Tiziano, a Veronese or a master whose name appears on the canvas.
02:59The great school of St. John the Evangelist.
03:19You have to establish an almost personal relationship with the works.
03:24The first thing is to look at the painting.
03:29I wander around it like a shark.
03:34I look at it and try to understand if it has already been restored,
03:39if it is not.
03:44What kind of materials and colors.
03:50I sniff it, I smell its smell.
03:55From the second half of the 20th century there are accounting books
04:00and manuscripts in which it is stated who has restored a work,
04:05how much it cost and what the intervention consisted of.
04:10If I specify the type of varnish I have used and how I have applied it,
04:15the person who has to remove that varnish
04:20chemically will know the correct way to do it.
04:25Close that does not give it the sun.
04:30Sometimes there is no such document.
04:35Small samples are taken and through stratigraphic analysis
04:40we find very useful.
04:49There is no predefined path.
04:54You have to let yourself be guided by your own sensitivity.
04:59I start with this part, which is the one that is in a more worrying state.
05:04Sometimes it can be the support, sometimes the color or the preparation.
05:09In any case, the most important thing is to return its stability to the painting.
05:14Then comes the aging phase,
05:19that is, the varnish is removed, the patinas are removed,
05:24the old touches are removed.
05:29Small samples are taken to fully understand
05:34how each can be removed without damaging the original color.
05:39The best thing is to clean by small touches,
05:44that is, removing one layer after another.
05:49The less solvent is used in a work, the better.
05:54Because cleaning a painting is still an aggression.
06:00Claudia talks about painting as if she were talking about a living being.
06:05She has her workshop in the neighborhood of Santa Croce.
06:10Today she works on a commission from the prestigious Chini Foundation.
06:29It is a beautiful Virgin with Child, by Lorenzo Costa,
06:34a painter born in Ferrara and died in Mantua.
06:39It is a work dating from 1505.
06:44The right half is the one that we have already cleaned.
06:49This part is the one that we have already cleaned.
06:54This part is still dirty, let's say.
06:59The varnishes are altered.
07:04This is a small test we did with the tea to see the difference.
07:09So, closer.
07:14You can see the difference even better.
07:19The sky was almost grayish brown,
07:24while here we have a beautiful sky.
07:34For now, we have been cleaning the painting for a month.
07:39We have discovered a very beautiful thing.
07:44And it is that many parts,
07:49many of the light parts of the foliage,
07:54are not painted with color, but golden.
07:59They have been painted with gold bread.
08:04It is well appreciated under the microscope,
08:09the gold has been used to enrich the painting.
08:21Here you can see some holes,
08:26work of the silophagous insects,
08:31which were covered in the previous restoration interventions.
08:36Traces of the preparatory drawing that we have revealed with infrared light.
08:41You can also see the green tone of the color palette
08:46that was used during that time,
08:51as a lower layer to create the illusion of the vein,
08:56to create the feeling that the tea is extremely real.
09:02Now we have to wait for the results of the tests,
09:07so we will know if the restoration work has ended here,
09:12or we have to continue it more in depth.
09:31This is an ecological disaster caused by the cruises that crossed the city.
09:36Gianni Berengo Gardin is a great Italian photographer.
09:41His exhibition was called The Monsters of Venice.
09:46He was going to exhibit his photos in the Ducal Palace,
09:51but the mayor of Venice canceled the exhibition,
09:56because in the early 2000s those giants began to be seen,
10:01those steel monsters that came to the city.
10:06And at the beginning of the 2000s,
10:11they were caught right here, on that shore, in front of that coffee shop,
10:16and for two or three days the sun was not visible.
10:22These cruises are all a symbol of globalization, of commerce.
10:27It is really like being in a shopping center on a large surface.
10:38People who decide to visit the city, even for a few hours,
10:43do not consume anything, because they already have everything on board.
10:48Most of the expenses are already paid.
10:53Why would they spend their money in a city that, on top of that, is rather expensive, like Venice?
11:11You lose any notion of what it is to travel, to live an adventure.
11:18What sense does it make to spend a vacation like this?
11:23What are they looking for?
11:33The Venice we know is actually the historical center of the municipality of Venice.
11:38It consists of several islands such as Burano, Murano, El Lido or La Giudeca.
11:44But there is also a part located in mainland Italy,
11:49and its main poles are Mestre and Marghera.
11:54After the numerous protests,
11:59today these huge cruise ships dock at the port of Marghera.
12:05Many had expected, or even dreamed,
12:10that the large blank space left by Covid
12:15could serve to reorganize and rethink tourism here, in Venice.
12:35They have done nothing, but nothing at all.
12:42We have an administration and a mayor
12:47who continue to say that the future of Venice is the mainland.
12:52Without going any further, yesterday he said that Mestre was the future of Venice,
12:57because the idea of the politicians who manage the city today
13:02is that of a free air, where people arrive,
13:07pay their entrance to take a walk and leave at night.
13:12Residents have no choice but to leave.
13:17In other words, our politicians continue to do everything possible
13:22to drive away the Venetians from Venice.
13:27There is a part that is forced to leave,
13:32and another part that prefers to rent its house in Venice to tourists
13:37and go to live in the mainland.
13:42There are a lot of Venetians who do that.
13:47There are many Venetians who take advantage, without ceasing,
13:52with all their cynicism, of the wealth of the city.
13:56Politics has completely abandoned the city.
14:01In terms of social development and cultural development,
14:06we don't even have a cultural councilor in Venice.
14:11It's a joke.
14:16Our mayor has said that, well, culture is not so important,
14:21but they are closing all libraries in the neighborhoods
14:26so as not to leave more than the central library of Mestre.
14:31For example, they are closing the library of the Giudecca.
14:36Can you imagine a mother who wants to take her children to the library,
14:41but as they live in the Giudecca, they have to go to Mestre?
14:46But they do it on purpose, to force people from here to leave.
15:16The most beautiful Venice of my life is the one I have seen during COVID,
15:21with the people who were shopping for their neighbors.
15:26We have learned to live in society and to be supportive.
15:31The lagoon was full of people,
15:36and we had a great time.
15:41The lagoon was calm,
15:46completely calm, blue.
15:51You could see fish, fish that we had never seen before,
15:56and birds that we had never seen before either.
16:01And one day I crossed the city completely empty.
16:06COVID has taught us something in that sense,
16:11to reappropriate our time, to stop running, running and running.
16:16You see what I have behind me.
16:21So coming to write here is the most beautiful office in the world.
16:26The slowness of the steamers.
16:31I don't know if there are so many writers who come to live and write here.
16:36The natural rhythm of the city is the rhythm of writing.
16:41One day I was having lunch with a publisher of Actes Sud in Arles,
16:46and she told me that there are two themes that,
16:51if you put them on the cover of a book,
16:56they will work like a shot in France.
17:01The cats and Venice.
17:06In other words, if you put a cat on a bridge in Venice, you're screwed.
17:11Pelestrina Island.
17:26When the tourist pressure gets too strong,
17:31I come to take refuge on the island of Pelestrina.
17:36This small fishing village is one of the secrets of the lagoon.
17:41It takes more than an hour to get there.
17:46Here, time seems to have stopped in the 60s.
17:56It's time to go home.
18:01It's time to go home.
18:06It's time to go home.
18:11It's time to go home.
18:16It's time to go home.
18:21It's time to go home.
18:26It's time to go home.
18:31It's time to go home.
18:36It's time to go home.
18:41It's time to go home.
18:46It's time to go home.
19:10But before that,
19:15It's a very precious delicacy.
19:18When I finished school, I became a fisherman.
19:25And I'm still here.
19:35These are the crabs we fish, and they're very tasty.
19:40The pink color means that in a few days, they're going to change their shell.
19:46We release the nets in the lagoon, where the sandbanks are.
19:58We leave them in the nets for 10 to 15 days.
20:02And then, every two days, we control them.
20:06Until they change their shell, and they become molleques.
20:15Turn around.
20:17Before, the molleque wasn't as valued as it is today.
20:21Now, it's highly valued in the market.
20:24These are not worth much.
20:27But the molleques in the market in Quioya,
20:31they sell them to you for 70 euros or 75 euros a kilo.
20:35They're very tasty.
20:53It all depends on the weather.
20:56You have to have a real autumn, and a real spring.
21:00But this year, in spring, it's been too hot.
21:03From a few years to this part, the weather is changing.
21:08The best season is in spring.
21:11But it also depends on the temperature.
21:14If it's too hot, or too cold,
21:17if they're too extreme, the crabs don't change their shell.
21:21They're stressed, and their metabolism changes.
21:24So they skip that process.
21:27Then, when they become adults, they stop changing their shell.
21:34These are the molleques.
21:39They're tender.
21:47Before, this was an island of fishermen.
21:53Today, there are few of us.
21:56VENEZUELA, SEPTEMBER
22:02Si Venecia Muere.
22:05It's an essay by Salvatore Setis, historian and archaeologist.
22:10Seven years ago, I was intrigued by the title, Si Venecia Muere.
22:15A title that announced a future curse.
22:18When the only resource, now deadly, is the exploitation of tourism.
22:22What will the Venetians do to reclaim their city?
22:27Salvatore Setis asks a question.
22:30Is Venecia doomed to die,
22:33as are human beings, animals and plants?
22:38Can beauty save the world?
22:41It won't save anything or anyone, unless we know how to save it.
22:46And along with beauty, culture, memory, economy,
22:49in short, life.
23:12Ricardo Guaraldi is a young and talented luthier
23:15who makes violins and cellos in the neighborhood of Castelo.
23:19He repairs them, restores them and sometimes he expertizes them.
23:35It's an old Venetian instrument.
23:41This object here is the link between the luthier
23:45and the golden age of the Venetian luthier.
23:49Montagnana, Coffriller, in short, the great ones.
23:52They are instruments that are worth millions.
23:55It has an incalculable value.
24:00It is the classic color that was made in Venice,
24:04with this golden hue.
24:07A golden orange is better appreciated in the background table,
24:12with a gold base to get that red.
24:17Almost like red wine.
24:21It almost looks like a glass of good wine.
24:24If I want to respect the idea of my predecessor,
24:28I will have to look for a tone similar to this.
24:36I have designed and built a first part
24:39that is the background table of the violin
24:43and a second part that is the harmonic table,
24:47with these Fs.
24:50Once finished, the harmonic table has this wooden bar
24:54that you see here, the harmonic bar,
24:57which can increase the internal resonance frequency,
25:01that is, the fifth mode of vibration.
25:05If we want to increase it a little,
25:08we just have to tilt it when hitting it,
25:12because the bar is glued.
25:15You see?
25:18It all depends on the result you want to get.
25:22I, in an instrument,
25:25analyze three parameters.
25:28First is the fundamental note,
25:31the fifth note,
25:34the fifth mode of vibration.
25:37Then the weight,
25:40which without the harmonic bar
25:43never exceeds 65 grams, usually.
25:46And finally there is the elasticity,
25:49that is, how the different components react
25:53when I squeeze them with my fingers.
25:56And these parameters, I think, are very personal,
26:00typical of each luthier.
26:04Ok.
26:29All violins are different.
26:31They all sound in a very particular way.
26:35Only the silhouette is a determining element
26:39for acoustics.
26:43The measurements can vary
26:46by very little,
26:49around 7 millimeters at most.
26:53What determines the sound
26:56are above all these three proportions.
26:59The upper lung,
27:02the ears,
27:05and the lower lung,
27:08giving it its own sound.
27:11Everything contributes to the sound.
27:14Your way of working the tabla,
27:17the mango,
27:20if you fret a little more here or there.
27:24The pegs also influence.
27:27If you let them protrude
27:30or sink them a little more,
27:33it's like when a dancer
27:36does a pirouette.
27:39If he opens his arms,
27:42he will turn more slowly.
27:45Like this, but with his arms crossed,
27:48he will turn much faster.
27:51And with the vibrations of the mango, the same thing happens.
27:57I was born here, in Venice,
28:00things of destiny.
28:02My passion is linked to a city
28:05that has been fundamental for the world lottery,
28:08since the 16th century and even before.
28:11Many of my friends have left the city,
28:15but a city like this cannot be abandoned.
28:18This city is made of glass.
28:26The city of Spinalonga
28:36There are those who make up the hypothesis
28:39that back in the 12th century,
28:42the island of Spinalonga was given to the Jewish community
28:45and adopted the name of Judeca
28:48when the Jews settled there.
28:52Isla de Judeca.
28:56Today, some of the last
28:59castellers of the lagoon are here.
29:15I started when I was very young,
29:18at the age of 11.
29:22I have been doing this for 42 years.
29:27A gondola is a personalized boat.
29:30The weight of the gondolier is calculated,
29:33the inclination, the height.
29:36Let's say it is the only asymmetrical boat in the world.
29:40When you sail,
29:43you always have to go in parallel to the water.
29:46If not, you will have problems.
29:49You have to be careful
29:52and you have to be careful
29:54if you are not going to have problems.
30:02These are three new gondolas
30:05that we have just finished.
30:08At the moment they have no owner.
30:11We started doing them during the pandemic
30:14because we did not have work.
30:17Either we closed the business or we prepared gondolas.
30:24Until then,
30:27I had never built a gondola that did not have an owner.
30:30I always did them by order.
30:33I received 7, 8, 10 orders.
30:36There was a two-year waiting list to get a gondola.
30:39Here in Venice we live from tourism,
30:42so without tourism, what was given was over.
30:48We hope to sell them, because if not ...
30:51All my capital is here.
30:54If I sell them, everything will go well,
30:57and if not, I will close.
31:06Before the appearance of the engine,
31:09at the end of the 19th century in Venice,
31:12there were more than 60 different models of boats.
31:16Each had its own specificity,
31:18a different function.
31:21There were for fishing, for hunting,
31:24for transport in the lagoon, for maritime transport,
31:27for the transport of goods, for the transport of people.
31:32Today the gondola is the most common boat in Venice.
31:35There are about 500.
31:39Until the 1950s it was not the most common boat.
31:42For centuries the most common in Venice was another,
31:45called Batella.
31:48There were more than 2,000 units in Venice.
31:54But today the Batella is on the verge of extinction.
31:57In the whole city there will be only about 10 or 15 copies.
32:04The other types of boat had already disappeared long before.
32:08The bateon, the peata.
32:11Now the traditional boats
32:14are considered more a sport or entertainment
32:16for tourists.
32:21They have been lost as a means of transport.
32:24Today they have been supplanted in Venice by the motor boat.
32:36The wave lifted by the engines
32:39makes it impossible to navigate around.
32:42My grandfather, for example,
32:44had to stop sailing.
32:47It had become impractical
32:50because of all those turbulences.
33:07We are in the Canarello neighborhood, in Venice.
33:10With Castello,
33:12the two neighborhoods in which
33:15more than half of the population lives.
33:18We are the Venison Boat Association,
33:21Venice on board.
33:24Our main goal is to restore old boats.
33:31One of our missions in the association
33:34is to rehabilitate the idea
33:37that these boats are still a means of transport
33:39or they can be.
34:10Personally, sailing to the Remo
34:13has taught me to do things more slowly.
34:16It is a different rhythm
34:19that allows you not only to appreciate
34:22in another way what surrounds you,
34:25but also to have a different contact with the city.
34:39All the stones we see here
34:42were brought on a rowing boat.
34:45That is, the city was built
34:48with rowing boats
34:51and for rowing boats.
35:10A boat.
35:13See you later.
35:16See you, Tito.
35:23Our greatest desire,
35:26what we want,
35:29is to preserve the memory of what Venice represented.
35:32Unfortunately, we are losing the memory
35:35not only of the construction of boats,
35:37but also of the construction of houses.
35:40That infinite knowledge
35:43that the Venetians have created
35:46with their own hands
35:49while respecting their natural environment.
35:55The soul of any place
35:58are its inhabitants.
36:00COVID has revealed two aspects.
36:03The few people who live here
36:06and, on the other hand,
36:09the coexistence between those
36:12who make the decisions
36:15and the economic interests.
36:18The well-being
36:21of the ecosystem
36:24and the inhabitants are not taken into account.
36:26Unfortunately,
36:29I hear a lot of people
36:32who fill their mouths with beautiful words,
36:35but then, when it comes to the truth,
36:38they don't move a finger.
36:41The truth is that
36:44the truth is the truth.
36:47The truth is the truth.
36:50The truth is the truth.
36:53The truth is the truth.
36:56The truth is that no one has used
36:59this period of reflection to say,
37:02let's do something, let's change things.
37:05In practice, practically nothing has changed.
37:08The city is still
37:11a business machine,
37:14as it has always been.
37:17For now, I have not seen anything that indicates
37:20an investment of the trend.
37:26I am one of those who think
37:29that the quality of tourism depends
37:32mainly on the residents.
37:35They complain about the low quality of tourism
37:38and then
37:41they are the first to offer cheap things.
37:57Salvatore Settis writes,
38:00cities die in three ways.
38:03Destroyed by a merciless enemy,
38:06occupied by a foreign people,
38:09or complained of amnesia.
38:12Venice can die if it loses its memory.
38:14Isla de Burano
39:15Venice, Italy
39:28Worry about youth
39:31and pass on the knowledge so that nothing is lost.
39:34That is the philosophy of Paolo Olvi.
39:37He is a printer, a typographer
39:40and also a printer.
39:44This is one
39:47of the few books I have created
39:50on my own initiative.
39:53The marbles I have used
39:56are some originals from San Marco
39:59that the Patriarch of the Basilica gave me.
40:02The original is 10 cm wide,
40:05this one is 1 cm.
40:08It is the Odyssey of Homer.
40:11The drawing is by Paolo Uccello.
40:14I have taken up the motif
40:17of the floor of the Basilica.
40:20There are 110 pieces on one side
40:23and 110 on the other.
40:26It is fragile like toast bread.
40:29Only with steel like this
40:32you can almost break it.
40:35Even if it is marble, as you can see,
40:37the colors are transparent against the light.
40:51We are in the old Armenian school.
40:54Today it is for sale.
40:57They will surely turn it
41:00into a five-star hotel.
41:03Paolo Olvi has his workshop in this palace.
41:05But for how long?
41:08Until 30 years ago,
41:11I think,
41:14this was still a school.
41:17But then,
41:20with time,
41:23the money ran out.
41:26Rather than turn it into a hotel,
41:29which will surely be as it fits,
41:32it would have to be turned into
41:35a museum for this palace.
41:46Does this measure suit you?
41:49It seems ideal to me, thank you.
42:06Venice began to change
42:0930 years ago.
42:12We realized that everything was going
42:15to the Garete in Mestre,
42:18which was not a city,
42:21but a suburb of Venice.
42:24A small town that has grown
42:27to become a city.
42:30It is a small town,
42:32but a suburb of Venice.
42:35A small town that has grown.
42:38Venice has 250,000 inhabitants
42:41and we 50,000.
42:44This cannot be.
42:47For example,
42:50the headquarters of the insurers
42:53have gone to Mestre.
42:56The branches of the banks
42:59have gone to Mestre.
43:02Everyone goes to Mestre.
43:05I also have problems.
43:08Finding such a large space
43:11comes out of the eye of the face.
43:14I think those who visit us
43:17should ask themselves a question
43:20before coming.
43:23What do you come to see in Venice?
43:26What do you want to understand about the city?
43:29Before, the tourist stayed for a week.
43:32Now, the tourist stays for a week.
43:35It makes no sense to come
43:38to see the Armani store.
43:41If there are Armani stores
43:44in all the cities of the world,
43:47they should come here.
43:50We are unique in the world.
43:53In 100 years,
43:56there were up to 200 prints in Venice.
43:59When in Paris there were 24 or 25
44:02prints in Venice.
44:05Venice was really a world capital.
44:08The capital of culture.
44:11Before, there was a legion
44:14of artisans in Venice.
44:17Today, all those trades,
44:20the goldsmiths, the jewelers,
44:23are disappearing.
44:26If a young man is not trained in his trade
44:29with a craftsman,
44:32the theory
44:35will never learn
44:38to use his hands correctly.
44:41It is difficult to understand,
44:44but nobody is interested
44:47in making Venice a living city.
44:50We have to help young people.
44:53Nothing is being done
44:56about housing.
44:59They prefer to create hostels
45:02before housing a family
45:05of young parents with children.
45:08They are already old,
45:11and everything is extremely expensive.
45:14If you earn a salary of 1,200 euros,
45:17you leave it all in the rent.
45:20What do you do? There is no right.
45:23What did Manucci do
45:26that revolutionized the world?
45:29The milestone of his career
45:32was a handbook,
45:35because he carried it in his hand.
45:38Before, books were huge,
45:41and only the powerful, the rich,
45:44could afford them.
45:47Imagine that we lived in that time
45:50and we wanted to travel to Paris.
45:53From Venice, it took a month
45:56of diligence.
45:59And what better travel companion
46:02than Manucci?
46:10The city council plans
46:13to impose visitor quotas.
46:16They want to build porticoes
46:19at the city center,
46:22to limit the number of visitors.
46:25From now on,
46:28you have to buy a valid ticket per day.
46:31To convert Venice
46:34into an Indian reserve.
46:37Is that the solution?
46:40Why charge admission?
46:43Could affluence be limited
46:46without the need for money?
46:49The first time I came to Venice,
46:52I was 18 years old.
46:55I arrived with my backpack,
46:57and we camped in the nest.
47:00Venice is for everyone,
47:03and everyone should be able
47:06to access their hidden treasures.
47:18Before I go,
47:21Claudia has one last surprise for me.
47:24It is the last work of Tintoretto.
47:27The last painting he painted
47:30in the year 1594.
47:33It is a painting that I have restored.
47:36It was in very good condition
47:39because it had been designed
47:42for this chapel.
47:45That is, it was born
47:48expressly to be here.
47:50And it has practically never moved
47:53since then.
47:56This is his house, his abode,
47:59and I think it is very good here.
48:02There are those who say
48:05that one of these two bearded men
48:08could be a self-portrait of the painter,
48:11and that this would be
48:14one of his children who had died.
48:17The lower part has been the most fun
48:20because we found hundreds of light dots
48:23that we did not understand what they were.
48:26Then, looking at the microscope,
48:29we found many little drops of wax.
48:32There were probably some candles here.
48:35And at night, when they left,
48:38the candles blew,
48:41and the wax splashed the painting.
48:44In the previous restorations,
48:47many of the drops had already been removed,
48:50let's say, with a scalpel,
48:53but the wax corroded,
48:56that is, all the parts where the wax had been removed
48:59were lighter because the wax had burned the color.
49:04Very often,
49:07in the paintings, we have found
49:10the painter's fingerprints.
49:13In a painting of the church of San Pedro Mártir de Murano,
49:16for example,
49:18I found a fingerprint of Paolo Veronese.
49:21You can clearly see the fingerprint in the color.
49:24It's wonderful.
49:27Who knows,
49:30maybe I sometimes spread the paint with my fingers
49:33instead of with the brush.
49:44Each painting is a separate world.
49:46That's why it's impossible to get bored,
49:49because each commission is a new challenge.
49:52Many times they ask me,
49:55and when you touch one of these paintings,
49:58aren't you afraid?
50:01My answer is no, I'm not afraid.
50:04For me, it's like touching my son.
50:07I know those works,
50:10I don't touch them until I know everything about them.
50:13And besides,
50:16I don't touch them until I know everything about them.
50:47It's like saying goodbye to someone
50:50in a sweet prayer.
50:53Veni etiam, come back again.