Paper & Glue (2021) - full transcript

"IF WE OPENED PEOPLE UP,

WE'D FIND LANDSCA

-AGNES VARDA

I love when I start a day,

and I really don't know

where it's going to take me.

Waking up everyday in a different

country creating projects...

never really looking back,

just being in the action.

Action, action, action.

Maybe that's why I've always been

documenting it, to keep a trace of it.

The excuse of the art

is the greatest pass ever.

I'm actually kind of shy

and can be afraid to talk to people.

But when I do a project,

I have to explain.

I come here by myself

with my own money

to try to do this project here with you,

in your community,

if it makes sense to you.

And then of course, some people ask,

yeah but what is this going to achieve?

I'd always say, "I don't know.

Let's see.

It's almost like

if we do a pact of the unknown.

Okay, we gonna do this?

But I have no idea

where it's going to take us.

PAPER & GLUE

TEHACHAPI SUPERMAX PRISON

UNITED STATES

Show your ID one more time.

Thank you.

So here I am, Supermax prison,

to meet some inmates

that have been incarcerated

when they were teenagers.

Mainly because of the three-trike law.

This is level 4,

maximum security, level 4.

So a lot of the most violent...

Damn.

What? Someone got stabbed?

Yeah, we wanted to try to clean it up

before you guys...

-That was when?

-That was two days ago, apparently.

Hello.

Hey, how are you?

I'm JR. Hey, how are you?

I come from France.

I'll try to remember every name, guys,

but like, you gotta give me a minute.

How are you? JR.

Well, thank you for having me.

What we're about to do here

is I take photos of you guys,

and also photos of people who made

it out, and also families of people

who have forgiven,

of people who have connected

with some fam... some people in here,

and so, to try to connect all the dots

to show how everyone

is interlinked together.

We're not here to judge anything,

we're here to listen to the story,

and to portray you

the way you want to be portrayed.

But my feeling,

just from being from the outside,

that's why I really need

to hear it from you,

is that this is kind of how it feels here,

like being between walls,

it feels like almost everyone

is like trapped in the same hole,

and I want to make that as a visual,

so that when people see,

they understand it.

Well, I'd love to hear from you

what you think,

if you have any questions for me,

what is... you know,

how can I, you know, help...

make things clearer...

What... you know, any question,

basically, I'm open.

What is it that you're trying to...

What is it that you're trying

to accomplish with this?

That's my question.

The thing is, I didn't even know

that someone can be locked up

when he was a kid for life.

In my country, I never heard that.

So maybe in the US, people know,

but people tend to forget.

By not seeing each other,

by not... then, you tend to forget,

everybody goes into their own thing,

and then you get forgotten.

But when you see and when you put

a face and a story to someone,

then you're like...

well, you can't forget it anymore.

Look, I don't make fake promises,

I'm not a politician, you know.

I'm always very careful with my words,

but I'll give you an example.

It's interesting, when you work on walls,

people always comment to me,

"Oh, you should do this wall."

Well, there's a wall that I keep hearing,

so one day, "I say, all right,

let's take the car." And went

with my friends, we just drove there.

US/MEXICO BORDER

-How are you guys doing?

-Good, how are you?

Yeah, we're just checking out the wall.

-Checking out the wall?

-Yeah. We just want to see it.

What wall?

Do you guys see a wall anywhere?

The fence, sorry.

Yeah, that's been there for a long time.

-Where have you guys been?

-No, we're French, we just...

I mean, he's American.

We're French, so we just...

-Let's talk about it.

-Yeah.

-Oh, do you need me to pull up?

-Yeah.

-Hi. How's it going?

-Good, how are you?

-We're good.

-Where are you guys heading?

Just going to take some pictures

of the wall. Yeah.

-The wall?

-Or the fence, whatever... yeah.

-All right, have a good time.

-Okay, thanks.

I wanted to find a place

where I could do an installation

that would play with the wall,

but not touch the wall.

I found a place where we could drive

in front of the wall.

But on the US side,

border patrol's everywhere,

helicopters flying,

I'm like, okay, this doesn't look like

an easy place to do something.

And then I look on the other side,

and I see some houses,

close by the wall,

actually not that far,

so we go past the border,

and then I go to the closest house

from the wall,

because I'm like, "Oh, maybe,

I could paste something on that house."

Then I knock at that door,

where there was this woman,

and two old people, a little baby,

a few chickens and a dog,

and she looked at me and she's like,

"Oh, I follow you on social media."

Well, that's insane.

The first door I said, "Bang!"

You know, that's really weird.

So I'm like, "All right, look,

you know me, I do this kind of stuff."

So she takes me to that spot

that's the closest from the fence,

but it's trees and stuff,

so I'm like, "Ah, okay, I see,

it's a bit complicated for me

to do it there, so, look, thank you,

let me continue

driving alongside the wall."

I kept on going all the way

to the ocean.

I'm like, "Shit, that kid,

he don't know what a fence is.

He don't know that there's two

countries, that there's two sides,

He don't know what that wall means."

So I go back.

And all I did is photograph him

standing in the crib,

looking around him like that.

And then I left.

And we look around, down the little hill

that go up to the wall,

there's nothing, there's just grass

and garbage here and there.

So I'm like,

"Okay, whose land is this?"

So I ask every neighbor,

"Hey, excuse me, sir,

you know whose land is that?"

"You know, I don't know,

I don't want anything to do with that."

"All right, that's all I need to hear."

I go to the next neighbor, "Hey,

man, you know whose land is this?"

Some people wouldn't even open

the door, like, "What do you want?"

No. "So what do you do?"

My only option was,

"Let's rent a bulldozer."

Anyone can rent a bulldozer,

they'll deliver it to whatever address.

So I started digging the ground.

And I was like, "All right,

what are the risks for me

as a French person in Mexico digging

a ground next to... next to the border?

Well, I'm not digging a hole under,

I'm just, like, flattening it,

so maybe the Mexicans will come first

and say, "Hey, man, you can't

do that here, are you crazy?"

And I'll be, "Oh, I'm so sorry."

And we start, one day, two days,

three days, for like fifteen days,

no one says anything

and we level the ground.

I couldn't believe it.

"What the fuck? Who's in charge here?"

So then I go to a place

to rent scaffolding.

All right, if you pay, we build it,

you know, we don't ask questions.

There it goes.

What is this?

This is going to be the Mexican wall.

Ah yes, but the Mexicans

are going to pay, right?

It's bigger than the wall,

it's three times the size of the wall.

Let's see the border patrol stop us.

I come with my team

and we paste that little kid.

There, I was like, "Okay, maybe that's

where I'm going to lose everything."

Because border patrol

is going to start saying,

"There's something big

being built by the wall,

we should do something about it."

He's giving a face to what many distort.

A place that nobody noticed,

he made stand out.

No one looked at these faces

that live here...

until he made them big.

In one day,

we pasted the entire structure.

Then, I was like,

"Okay, let's get out of here."

I passed back on the other side, and

stumbled on those two border patrols

that were just looking at the kid.

And I just put on Internet.

I said, "Hey, whoever wants to go see

that kid, here's the location."

That's all I say.

One of the great things that art do is,

if you build a giant kid somewhere,

people will say, "Oh that's a fun thing,

I'll go see that,

let's go take a selfie in front of it."

That's where my idea stopped.

I hoped people would go

and take photos so they'll see the wall.

It's the same land,

but we're on each side.

And what happened

is something we haven't planned.

People exchanging their phones

through the wall

to take photos of each other,

connecting, talking, "Hey how are you?"

The border patrol should be,

"Wait, they could be passing drugs.

Or they could be passing weapons,

let's go arrest those people."

After three weeks, no one got arrested.

How the fuck people don't get arrested

for passing stuff through the wall?

Because I know there's guys on

the hills, overlooking every second.

After one month of seeing that,

I had to give back the scaffolding.

We decided to go, and to organize a

table that would go through the wall.

We built a table, 36 feet on each side.

Yes, we would block the road

a little bit on the US side,

because the table would end up

on the road.

A few days later,

we got a letter from the border patrol,

saying that they strongly recommend

keeping the table

on the Mexican side only.

We continued, but we had to improvise

another way of building that table

on the US side.

And then we invited people to come

and see Kikito for the last time.

People on the Mexican side

all started sitting,

and we started making food,

but there was nobody on the other side,

because we couldn't build a table.

Hello, how are you?

Ah, from Germany, wow!

Ah, amazing!

You know,

we're doing a lunch now...

We can't go to the other

side because...

As soon as people would come

to take photos, we told them,

"Hey, if you can stay

a little bit longer?"

After like an hour, an hour and a half,

there was maybe 20, 30 people,

and we pass them a tarp,

and then we were like,

"Okay, maybe we only have

a couple of minutes, so let's go fast."

Table from the Mexican side

that continues on the US side,

and one music band split in two sides.

Half of the band was in Mexico,

the other half was in the US,

but it was the same band,

they were playing the same music.

We would pass tacos that we would

make in Mexico through the wall,

we would pass them illegal tacos.

So now I'm thinking, "We're

gonna get arrested in five minutes

let's just pretend we're eating,

so I can take a photo."

Everybody, gather around the table,

we're going to take a photo from above!

We are going to take a picture

with the drone.

Are you ready?

Five, four, three, two, one. Boom!

You know, from up there, there's no wall!

We thought this would last two minutes.

They would put the tarp,

and take a photo

and that's it,

we'd have to take everything off.

And five minutes passed,

ten minutes passed,

15, 20, 30, one hour,

we're still eating.

It was just a nice lunch with music,

and...

And for a moment,

we really forgot there was a wall.

This is the eye of a woman

who's a dreamer.

A dreamer is someone

who had come to the United States

when she was very little

with her parents but illegally.

Her name is Mayra.

I told her not to come,

because I said there's a big chance

we'll all get arrested.

But not only she came,

she came with her mother.

With DACA ending,

I have very few months left

being able to be this brave

and come to the border.

It's only an hour and a half later

that a border patrol came.

Everybody got scared.

I told them,

"All right, send him over to me."

I was on the safe side,

I was in Mexico anyway.

I was not even trying to justify myself,

I said, "Look, you know..."

He said, "I know."

It turns out they were watching us

the whole time

but had decided to let it happen.

Thank you.

Can you share tea with me, or not?

Sure.

Salud , thank you.

Chinese tea at the Mexican border,

how's that?

He went and talked with Mayra.

When she came that morning,

we never thought she would be talking

with an officer,

and he told her that he also

have family on the other side.

And they were talking...

That made me realize

that art can go places

beyond laws, beyond rules,

beyond borders

maybe because art is not part

of any organization.

It's not part of the state.

It's something that we own,

we, the people, own,

and that's why it goes so far.

That little kid says,

"Hey, I'm here, I'm exist!

I'm not terrorist!"

A future, a better future,

that's what it means for me.

All of JR's work focuses

on a certain conflict.

Although he doesn't take

a political stance,

he brings attention to things.

He tries to give a voice to

what's been silent.

Nice. And now, looking down,

in front of you.

Yeah, perfect.

I like when you hold it there.

Nice.

You certainly, as a kid,

don't think of this,

that you're going to do life in prison

as a kid,

doing the things that you've done.

You know, there's a lot of fences

and walls in here, to keep us in,

but it does more than that.

It destroys who we are,

it destroys our families.

You were a graffiti artist before?

That's funny, 'cause I kind

of started off, you know,

kind of into that little lifestyle.

The only difference is that my transition

kind of went into a little different,

you know, way after...

Fourteen years

you had no human contact?

No, just when they cuff you up.

And they take you out.

That's it.

Still can't really believe those,

those human cages.

It's insane.

Wow, here the bird gets free,

in the human cages.

We hope that this image will get

around the world, people will see.

Definitely.

They'll be like,

"Okay, who's that person?"

And actually when you take the image,

and you put your hand on any person,

you can hear their story right away.

We're putting like an app for this

or something that you can click on,

you know, and then you hear

the stories of the people.

My name's Kevin,

I was a gang member.

I put my whole life in focus

into what I was doing at the moment.

Really, I was just trying to like,

people please other people.

I knew that this wasn't what I wanted,

but I was scared.

I'm not the person that you see.

How do you say that you're a loving

person with this on my face, you know?

And...

I was trying to explain, like,

what it was, you mean, it was...

it was a prison thing,

and it's not really, like,

how I perceive other people, you know.

And it made me feel really ashamed.

Yeah. Yeah, like that, that's great.

I'm not just a monster

that society sees me as,

I'm a person, I'm a man, I'm a human.

-Outside world, my name's Richard.

-My name is Nicholas.

-My name's Gerardo Sias.

-My name's Francisco Olivares.

-My name's Danny.

-My name's Chris.

-My name's Carlton Fields.

-My name's Alejandro Serrano.

My name's Alex.

The biggest mountains and walls

we have to pass are within ourselves,

they're not in front of us.

When I see a guy

with swastika on his face,

of course that's like

an instant wall of fear.

But when Kevin,

the guy with the swastika

walked up for me to photograph him,

I was like,

"Wow, if I don't ask him now,

when in my life I would have

the opportunity to ask,

'Hey, man, can I ask you,

what the fuck is this?'" You know?

Of course, I have fear.

I also have boundaries.

My work every day push me

to fight them.

Come around, come around this side,

and paint your face.

Go, go, go!

All right, guys, let's keep the rhythm.

I need some glue here!

In between lines,

that's the most important,

because that's where

the wind will get it...

-Oh, you see the first eye in here?

-Hi, what's going on?

-Look at that!

-That's his eye, he says that's his!

That's yours? Yes, first one off!

Yes, go, all the way.

All the way!

Yeah, right here.

-Are you in there?

-Yeah, right here.

That's right, you?

Oh, my god!

Oh, right there.

How's Luana's team doing? Yeah?

Check out the dream team!

Come on, keep the rhythm, guys!

Every line!

I would put the glue in here! No line.

-Where's the crack?

-We're running low on glue!

Those cracks!

Every detail like that

adds something, actually.

If not, people think it's done

on a computer.

I'm bringing you some extras.

Just make sure that that glue

stays right flat, captain.

Out of everything,

I never thought I'd see this.

Teamwork. It gets it done.

Come on, I got wind.

-All right!

-Let's go!

That's the way.

The guys cleaned it,

cleaned the yard yesterday,

they say they cleaned the blood,

they cleaned the tear gas...

It's hard to imagine this violence

everyday on this yard.

-Yeah.

-Yup.

How many guys you saw

being stabbed here?

That's... 11 years' worth.

You know, I was raised here.

I never really imagined that one day

you can get out and do something,

that you're never even gonna believe.

The more we think like that,

the more we're going to be able

to obtain those dreams.

You know, people wanna be this big.

From way up there,

you know what I mean?

We can see it. We want

to be that big from way up there.

And it doesn't take much.

Just a little hope,

a little effort, and we got it.

-And some paper.

-And some paper.

That's the crew right there.

-Pizza time, pizza!

-Pizza time!

So I'm back in here.

Oh, my god, look at these shadows,

let's stand this way, with Kevin.

-How's it going?

-Good and you?

I put the portrait I took of you,

you know, and on social media,

and people were like,

"Oh, they were really..."

I think people were touched by your

photo because of the depth in your eyes

and what you share, and conflicted

because of your tattoo on your cheek.

Right.

I understand that the symbols I wear

represent hate to many people,

and so people are automatically

gonna have a conflict with that.

When we come in here,

we're forced to fight for our lives

against other races.

I know it causes a lot of hurt

in other people's hearts,

and I know that if I could right now, I

would remove it, you know what I mean?

If I find someone who help remove it...

-Let's do it.

-Let's do it.

If anyone's out there, we're looking for

someone who can help to remove this.

-Please. I need that!

-All right?

Hard day's work.

We did it.

My buddy Richie over there,

look at him smiling over there...

Just kicking back,

just having a good time.

I'm just an old guy right here

hanging out,

having a good time,

enjoying this, soaking this in.

This is something, in my 25 years

of being busted in CDC,

I never thought I would ever see

a collective group of individuals

just come together for one purpose.

You got Mexicans working

with Blacks and Whites

and everybody together interacting,

it's rare in the prison system,

but for us to break that mold, is big.

That just shows everybody's willing

to put all the hate

and all the negativity behind us and work

together with staff and everybody to...

for a common goal,

you know what I mean?

-Wow, that's like a little plane!

-I thought it was like a bird, my man!

This is the first time

we ever seen a drone live like this.

You see?

Yeah!

-Oh, man, that was cool.

-Yeah.

Congrats, everybody!

-That was fun. Thank you!

-Yeah!

Thank you, man.

Yo, yo, yo. What are you doing?

I'm trying to keep my eye!

I don't wanna take it off the ground.

I wanna leave it there.

I want it to stay, but as I'm tearing

it... it felt good.

I felt something freeing, right?

The process is what matters.

I think that's what art is.

It's that process.

It wasn't just, "Oh, we took a picture.

We drew a picture or we sang a song."

That whole process of us

getting together doing something...

It's kind of beautiful. It affected me.

So I think that's art.

That's what I learned from you art is.

The process is what matters.

It took me years to me to realize that,

and he was just realizing it

in a heartbeat.

It stayed with me,

because that reassured me.

I was keeping the right part

of that whole journey.

PARIS LA BASTILLE

FRANCE

What's up? What's up, everyone?

We're here in Paris,

the top of La Bastille.

People always think,

graffiti just started, but look at this.

Those are all graffiti from 1918, 1914,

1846, 1923...

And there's tons of people

who want to exist and express

and be seen and be remembered.

I relate to that.

PARIS 11TH ARRONDISSEMENT

Growing up in the projects outside

Paris, I was only doing graffiti,

writing my names everywhere I can,

in the tunnels, on the rooftops...

It's not that I had to escape

by the window.

My parents were sleeping

in the couch in the living room,

they would just leave me the freedom.

As a child of immigrants, I came

from a family that never had a voice.

I feel like I'm leaving a mark

because I would see it.

No one else would care,

but then my friend would say.

"Oh, yeah, I saw

what you made in that rooftop."

One day, I was just at the train station

in Paris, waiting for my friend,

and he was late.

And at some point,

I see the bag that was there.

After two three trains,

that bag was still there.

So I opened, and I see this camera.

I took it.

I had that idea of like, "Oh, I should

document those adventures."

I was documenting everything,

I was documenting climbing those roofs,

I was documenting

those night experiences.

And I loved it.

I would just make photocopies of it,

and I would just give it to the people

I photographed.

And then I was like,

"Oh, I have those photocopies in hand.

Well, you know what,

I could just paste one on the wall."

But my photos were really small,

so you wouldn't really notice them.

So I started framing those photos.

And I started noticing

that people in suits and ties

would stop and look at them.

If people don't like it, you can pee

on it, scratch it, take it down...

but if what you do creates reactions,

and even if people hate it,

I'm happy,

because it creates conversation.

Act one.

We're here with the shooting crew.

Yo, Xavier.

Mr...Mathieu?

Olivier.

Mathieu.

JR.

All in the car with some good music.

Opera. We're gonna go right.

JR is doing his thing.

Street exhibit! JR!

It's art!

JR is doing the Champs-Elysees.

Champs-Elysees...

When I started, it was called vandalism.

Many times, I would get arrested.

One day, I went to the closest store,

and I just put on a hat and glasses

and was like, "Oh, you know,

maybe when I take them off,

no one will recognize me."

At that time,

I thought that the whole world

was just Paris and its surroundings.

And then I met Ladj Ly,

and he took me to a place

I'd never seen before.

I met Ladj through Kourtrajme,

a collective of artists

that were already making art,

making graffiti.

I was pasting and Ladj was filming.

We had that kind of similar vibe, and

we understood each other right away.

One day,

he took me to his neighborhood.

MONTFERMEIL

LES BOSQUETS HOUSES

It's a project, like mine was.

But I've never seen

a neighborhood like that.

It was completely abandoned.

It's the poorest hood in France.

This is really the ghetto,

the ghetto of the ghettos.

No elevators. Everything is broken.

No lights.

Fuck the police, yeah!

How can you live in this type

of environment?

Fucking hell.

Are we in France or what?

Huh? This needs to stop.

It looks like Sarajevo!

Film this.

Film.

They say the building could collapse.

This used to be my building, cousin.

-It was the best of the best.

-It was classy here.

There were only executives...

I lived here when there were

executives and lawyers.

They built these buildings where

you could be in Paris pretty quickly,

but still live in the countryside...

because the train

was going to run out there.

But the train never came.

Neither did the highway.

The real estate developers all left,

and families that had less money

came instead.

The city said,

"We have nothing to do with this."

And that's what really

drove people crazy...

We're the forgotten of the forgotten.

We're in deep shit.

Here we all live in hell.

Every man for himself.

Only god is watching.

Where people shoot, deal.

Where misery begins.

People say it's called Montfermeil.

At that time, Ladj was shooting a

short film and asked to film me pasting

I was just pasting in his neighborhood.

Someone said,

"Hey, why don't you take us in photo?"

And Ladj said, "Yeah, yeah,

take a photo of me."

So, boom, I take that photo.

Everybody looked at it and said,

"You had a gun?"

"What are you talking about?

You were there.

It's not a gun, it's my camera."

"Oh, yeah, it's your camera,

it's crazy."

We just took all day of taking photos.

Then we went there

with all those photos,

but we didn't know what to do with it.

And we looked around us,

and there was all those buildings.

Let's cover those buildings.

Let's just do it.

Where is the poster?

Don't worry it's coming.

We should make sure we have water.

-This is huge, man.

-It's the smallest one.

-No?

-Yup.

Who's shining the light?

Don't worry, it's not the cops.

We didn't want to get arrested,

so we asked all the kids

from the neighborhood

to come and hang down by the pasting

so that the cops wouldn't stop us.

When the cops would come by,

there'd be like a hundred of us,

so it's not worth trying to stop

whatever we were doing.

And I never pasted an image so big.

It was the first time.

That photo, where Ladj

holds his camera like a gun,

it's a photo that would follow us

all our life.

Everything changed.

It must be weird for you.

Yeah it's weird.

I lived 20 years in that building.

-20 years...

-Yeah.

The last building.

The B5.

Look, we just started pasting.

Hey Espion!

How are you?

How are you?

Oh yeah.

It's moving along well.

This morning we did this part.

MONTFERMEIL LES BOSQUETS "B5"

I kept on going back there

over the years.

That's where we did all our projects.

-We're at your place Mr. Lagj.

-We're at my place.

Oh wow it feels weird.

Wait, this way.

They blocked my apartment.

-What was this staircase?

-First floor?

First floor. I lived here.

Ground floor, to the left.

They're destroying the last building,

the B5, where Ladj had grown up,

to rebuild smaller buildings.

This place is, for us,

a seed of creation.

And now we're running a school

across the street from it.

MONTFERMEIL ECOLE KOURTRAJME

FRANCE

It's not a school to like,

teach you

how to become a good photographer,

or great painter,

but how to survive as an artist.

And it's completely free.

Beyond being UberEats drivers,

we're Blacks and Arabs.

We're youths from the suburbs.

Surrounding yourself with people

that come from different backgrounds,

different stories, different paths,

that's what nourished us.

You guys should check how it is,

and like see what you can take from it.

We don't even have a microphone.

It's the Kourtrajme School!

We have no means.

A little word. Please!

For years we wanted to do this project.

We've encountered many difficulties.

But the project has now existed

for two years. We're very proud.

And I'll let JR talk about that.

What to say after those words?

It's Ladj who brought me

into this adventure.

After founding the school,

he asked me to meet him.

It took me a year to come aboard

and I don't regret the adventure.

We all realized that you can't

grow without this family spirit...

that's one of the main values

of the Kourtrajme School.

It's our greatest strength,

so congratulations everyone!

You can do some with

the wide angle lens.

The focal length is 7.1,

shutter speed is 500.

It's his project. Oops, I moved.

One, two, three!

Cool. Thank you very much.

Paulo, show me what the others

did so I have an idea.

To exist as an artist,

there are a thousand paths.

Each person will find their own.

But the example I can give from

my career

how it started and how it changed.

You are at the exact moment.

So I'll show you my path...

without rewinding too much.

At that time, graffiti was

being exhibited galleries.

But it wasn't my world.

It was like I didn't exist for them.

So I was like,

'Fine, we'll do our own thing.

'Les Bosquets Exhibition'

Once they dry, they turn a nice color.

That's crazy, that picture is incredible!

We made flyers for the exhibit and

put them in every cool place in Paris.

But no one wanted to go there.

An article came out in

a free daily newspaper.

And then France 3 TV came.

We'll call him JR.

Underground photographer,

he photographs by day

and pastes by night.

On the street, anyone, even people

who are interested in art...

can discover my work.

I didn't want to show my face

on camera was completely illegal.

Does this make you feel like

this neighbourhood less forgotten?

I was walking by, I saw the photo

and I saw myself and my friends in it.

It made me happy.

It was their exhibition.

They were proud to

have those images on their walls.

Tell me you impressions.

It's the bomb.

That year,

a lot of people from abroad came

because they had seen it on the internet.

They came not knowing that

Les Bosquets is a dangerous area.

It completely changed

the perception people in Paris

had about Les Bosquets.

I started by writing my name

on walls.

Later, I wrote other people's names

by putting their images on walls.

The mayor,

who'd always seen this neighbor

something he didn't want to take care of

pressed charges against us at the time.

So I left France for a year because

I was afraid of the fines.

When I returned the riots began

in the same neighborhood.

MONTFERMEIL

LES BOSQUETS HOUSES

Some teenagers were being chased

by the police.

They hid inside an electrical station

that was right in front of

the photo of Ladj we had pasted.

And two of them, Zyed and Bouna,

were electrocuted and died.

Motherfucker!

There had always been

police brutality in this neighborhood.

But this time two kids had died.

That's what ignited all this anger.

Come, come, come.

Ladj was there filming everything.

They're coming guys, they're coming!

We'll destroy these motherfuckers

and their cars.

We will destroy everything.

Do you think this will change anything?

We'll do this until our voices are heard.

The kids didn't die for nothing.

Go home guys, don't stay out here.

Ladj tried to calm the tension.

But it was to late.

It had spread all across France.

They were some of the biggest riots

we'd seen since the French Revolution.

400 rioters threw bottles and firebombs

at police forces.

In total more than 9,000 vehicles

were destroyed.

300 cities affected.

The damages are estimated

at 200 million euro.

Inevitably, it's these riots,

this tension, this environment

that really shaped our thinking.

The question was,

what should we do with our images?

And with our footage?

Ladj was wondering the same thing.

A journalist asked us to take photos of

young people burning cars and all that.

We refused.

But we really questioned ourselves.

That's something we often talk about.

How can you live off art?

I made a conscious decision not to

work with brands or organizations.

And to fund my projects

only from the sale of my artwork.

When you tell someone you're an artist,

they're like, 'Oh yeah?'

How do you make make money?

'What's your plan? When are you

going to get an apartment?'

We all know that.

The fact we said 'no' that day...

the fact Ladj and I thought about

what it menat take those photos

and be in control of where they go...

I think it changed everything.

We didn't realize it back then.

We thought we had missed out

on a way to earn a living.

But it was a climate like today.

A climate where you realize

everything you do has an impact.

So we continued

working on our own project.

They're still here,

they were respected.

It's been a year and

a half and they're still good.

Some of them were torn

but most of them are there.

Everyone respected the photos,

except the weather.

The rain, the sun, and all.

Other than that no one touched them.

No graffiti, nothing.

The next step is to take

close up portraits.

We want to show behind all this

there are

motivated, young people

with good vibes.

Exactly, good vibes...

The aim of this project is to take over

Paris with these portraits.

-We're going to visit Paris.

-Yeah.

During the riots,

everyone wore a mask.

And people got the impression the

"hood" was going to invade Paris.

So we wanted to take

photos of bare faces

to play on the caricature the

media had created of them.

Hey my niece! Look, your uncle

will be a star Paris!

Angry, angry!

My nose is running.

It belongs in a bad guy movie.

He deserves an Oscar.

Why are you so close?

The only lens I had was a 28mm.

You had to be very close to take a photo.

The whole idea was to shoot up close.

Some were coming to me

with big lenses like this that

they'd stolen from journalists.

They'd say 'Do you want it?'

'The bastards were trying to take

pictures of us from the forest...'

because the neighborhood

was off-limits.

With a 28mm lens...

the subject is aware and can ask,

'What's this for?'

In Paris?

Yes, Paris.

Whoever makes a crazy face

is going to be a star.

At the bottom of the picture, we'd write

their name, age and building number.

So you go from someone portrayed

as scary media...

to someone whose doorbell you can ring.

All of a sudden,

they were no longer monsters

like the media had portrayed them.

Since earlier this month, an anonymous

artist has been photographing

the residents of Clichy Montfermeil.

The photographs are pasted

on building walls.

The photographs tell another

story of the suburbs.

There is certainly rage in the viewfinder.

There is beauty too.

Black and white. Freedom...

I put my work on the street

so everyone can have a say.

I'm lucky that my work allows

this exchange with people.

It fills me with energy.

It's almost like a drug and maybe

that's why I am always creating

again and again.

But not everyone likes it.

It changes my daily trip to work.

But what's good is that it is fleeting,

because I prefer my old bridges

and my old stone.

People were outraged

of the money wasted.

It could've been used better

than on stuff that doesn't look

like anything.

I'd like to know who is the idiot

who made happen?

People who like it are all idiots.

It is extremely stupid.

There, I say it again.

Bits hang awfully.

For an area like this, it's not

very good, right?

How do you get through your

moments of doubt?

I often say to myself, it's nothing,

only paper.

It's just art.

Of course you're under

your own pressure.

Why did I do this to myself?

Sometimes I wonder, what's the use?

There was a survey on most

"essential" jobs.

"Artist" was in the top 5.

-No, the least "essential."

-Yeah, least "essential."

-Imagine a world without art.

-Without culture!

Yes, without culture.

The role of an artist is to show

there's something else.

To change people's perspective on life.

We're like a bottle of oxygen...

for others. But who is that for us?

The purpose of this school

is for you to become

that bottle of oxygen for each other.

To work as a team.

That's what worked for us.

This summer the last high rise building in

Les Bosquets is going to be destroyed.

It's the end of an era...

for Ladj and me.

But now it's your turn to be inspired

by this place and to create.

Come on guys, let's get going!

We're here, you can start.

Aristide, we're going to paste over there.

Come, Aristide.

Why does he have a harness

and I don't?

-Because we're going on the scaffold.

-Can't I go?

I proved myself.

I got an A in climbing.

Go ahead, change with him.

But right now we need to paste.

Do they think they're better climbers

than we are?

It's here!

Here's a brush.

Can you send us another brush?

You really have

your team standing close.

You know, Aristide was

a professional rugby man?

I had reached the International

Rugby League, highest level.

I was 26 years old.

Then I was injured in the 2015

terrorist attacks.

Where were you?

I was in front of the

Petit Cambodge restaurant.

I was walking by with my little sister.

I tried to come back.

I did one year of intense training.

It was impossible.

I was destroying myself.

I was already broken but

I was breaking even more.

I had many operations

and then I stopped.

Yeah. It was very, very tough.

I spent 2 years isolated surrounded

by nature in the middle of nowhere.

I did a lot of writing and took

a lot of photos.

But something was missing.

I had always lived in a collective.

But now I was completely isolated.

Then I saw your post calling for

applications to the Kourtrajmé School.

I realized that's exactly what I needed.

-How are you?

-Hey Tassiana, come over!

I came to paste.

We were talking about the selection.

What selection?

The selection of the 13 of us.

It was a human laboratory

with so many people

collaborating at the same time,

like a volcano.

This school is about

helping each other

and bringing a new generation

along with us.

You see that people are

in the same boat as you.

It's a boat that we're all rowing.

Exactly. I never thought of it that way.

OK guys, let's get to work!

This is Global Tel Link.

You have a pre-paied call from...

Kevin.

An inmate at the California Correctional

Institution, Tehachapi, California.

Hello.

-Hey, Kevin.

-Hey, what's up, dude?

-What's up, man? How are you?

-I'm doing good, and yourself?

I'm good. I'm in the middle of a pasting

right now, actually, with the team.

You're a busy guy.

Where I did my first pasting,

where I did the...

the photo of my friend with the camera,

so I'm exactly right there.

Everything else has been rebuilt

into smaller buildings,

and the last giant building

of the neighborhood is being destroyed.

-So we're pasting the entire building.

-Awesome, dude!

But... how's everything over there?

It's getting a little worse

with the virus.

A lot of guys are getting sick

or tested positive...

Wow, but you know,

let's focus on the positive things.

You're coming out very soon,

that's crazy.

This whole swastika on your face will

be an old story that you'll be telling.

No actually, I just heard back

from them... denied me.

I know my past was bad,

I wasn't the great person, you know?

I did a lot of damage but

they kind of focused on the negative...

I've seen lots of negativity in my life.

I've seen it, I know what it's like.

It's just so much easier

to find the dark side.

Right now, it's only the primary

necessity shops that are open.

Everyone's just locked at home.

The basic things

that we need to survive

is actually human contact

and to get to know the other,

and to get to listen the other.

It's something as important as eating.

My work is just an excuse

to create those encounters,

so that people who normally

never meet get to meet.

It was only a year ago,

I was right here in Paris,

pasting the entire Louvre.

We had volunteers come from

all over to paste this giant animal.

400 people pasting it, people

on the floor wondering what it is.

We were at a moment

where we could all gather,

where we could all share something.

But that can all be taken away

in a heartbeat.

Often, I rush into doing projects,

because I think there

will be no tomorrow to do them.

This pandemic makes me

focus on that even more.

One of my students, Paulo, just

learned because of the pandemic,

he couldn't renew his visa,

so he has to drop out of School

Kourtrajm and go back to Brazil.

PARIS JR'S STUDIO

FRANCE

Want something to drink?

I'm good. Thanks.

Sit down.

-So, tell me...

-Corona and visa problems,

-I have to go back to Brazil.

-Wow. That's crazy.

It's a burden that you cannot

be with the students, you know,

for the final show of the year,

and that you're forced to go back,

but it's actually a big chance for us,

I hope for you too, to go there

and connect the two worlds.

I went to Brazil, I was 23, 24.

I don't know if you remember,

but there was an incident in...

a very violent incident in Rio,

in one of the favela called Providencia.

-I remember.

-You remember it.

A group of residents are accusing

members of the army

of attacking three boys.

Those three kids were just walking

to school in the favela in Brazil.

And they were arrested by the police.

"Oh you don't have your papers?

Come with us."

And the police sold them

to an enemy favela

where they got killed

and chopped into pieces.

The community is up in arms.

Soldiers are trying to contain the unrest

firing in the air.

The protests began this morning.

My son was alive when he got out of that

car. They have to take responsibility.

How does my son turn up dead?

Justice! Justice!

Three kids being killed at the hands

of the police in Brazil,

it reminded me of the deaths of Zyed

and Bouna in Montfermeil les Bosquets.

But I'm not going to just hear

what the news is telling me,

I want to hear it by myself.

I want to meet those people.

RIO DE JANEIRO

MORRO DA PROVIDENCIA -BRAZIL

So I went there, 2008.

If a gangster dies,

the police will die to.

If you kill one, another will step in.

When I got there, I understood

that it was a complicated favela.

It's the home of the one

of the largest commandos of drugs

called the Red Commando.

In the community,

because of all the drug dealing,

there are a lot of guns involved.

Running and panic sets in.

The traffickers shoot back.

They are shooting all night long.

I saw how impossible it was

to walk in the favelas.

So I started taking photos

on the edge of the favela.

As I walked around, I met Rosiete.

She saw that I was clearly

not from there, you know?

I was a gringo,

like you say in Brazil, for foreigners.

So she said, "What are you doing?"

And I said, "Hey, I'm an artist,

I'm actually trying to do a project

about women,

and how they are the pillar

of their community.

I've been working in Kenya, in Liberia,

in Sierra Leone, and other countries...

And she said, "Ah, you know, we need

art here, there's not enough art."

I was like, "Yeah, can I come?"

She said, "No.

Go home.

Leave your bag, leave everything,

tomorrow, come back the same place,

you see that street?

Go up the street all the way.

Anyone who stops you with a gun, tell

them "You're coming to see Rosiete."

When I got up there, she was

waiting for me on the main square.

And she said, we want to introduce you

to someone from the community.

I was like, "Yeah, sure, who?"

His name is Mauricio,

he's a photographer

So you know, in my head,

"I'm like, okay, cool,

but we don't really need a photographer.

I need to know how I can paste

on the house, I want to take portraits.

"No, no, you need to talk to Mauricio."

So then Mauricio arrives, he's born

there raised there, knows everyone.

Rather than explaining

what I wanted to do...

I took portraits that I had

from other projects,

and using my computer, I placed eyes

on the houses in Providencia,

and I brought him that piece of paper.

Then he understood.

He smiled because suddenly,

it was the project on his favela.

"Oh, you know, this one you just put,

that's my neighbor."

And we walked through the favela.

He knocks at the door, and she said,

"What's up, Mauricio? What can I do?"

"No, he wants to know

if he can paste on your house."

"Yeah, well, what is it?

Is it political?

"No, it's not political."

"Is it going to damage my house?"

"No. Okay, then come in.

Do you wanna do it now?"

"Oh, no, we're not ready, he's just...

I'm asking if you want."

"Of course! Why do you bother?

Just come and do it!"

So I take the paper and I go,

"Checked."

So then we went to the next house,

check.

Maybe Saturday or Sunday

because her husband was working

so we'd have the answer

on the weekend.

Most of the people are like,

"Sure, do it."

Mauricio said, "Okay, you need

to meet the head of the drug dealers."

So one night we walk down the favela.

Kids with machine guns,

grenades, bulletproof jackets...

We arrive and there was three leaders,

and they asked us right away,

"So, why are you... what do you want?"

I say, "Oh, we're artists from France

and I'm there, and I'm with Ladj."

He came with me, and we had our

computer, and I say, "Okay, look,

this is what we've done

in the favelas of France, you know?

They look and they're like, what?

This is not a favela.

This is the richest building.

Okay, I showed them Israel-Palestine

project, this project right here.

We pasted the wall in Israel-Palestine,

and one of the guys say,

what is Israel-Palestine?

They never heard of it,

and I couldn't find a bridge to explain

them what were the other projects,

so I closed it and we're like,

"Okay, look, this is what I want to do."

We took those photos,

we want to paste them.

The next day,

we started pasting the stairs.

The stair is actually right

in the heart of the favela.

You can't see it from outside,

it's just something

that only the locals can see.

So we paste, it's a beautiful day.

And then suddenly...

Come up here!

Someone is shooting.

Look at that. Look.

Go, go! Carefully...

Anderson come here!

The police comes up, drug dealers

replied we're in the middle of that...

The rearguard is ours.

I'm here, I'm here.

So, Ladj is filming

down the stairs, and...

and like, it starts shooting

from all over.

Are you guys filming here?

Can't you see the guy with the rifle?

No speak, uh...

Did they come out?

Why are you being so loud?

The camera...

the camera is over there!

People will see the camera and think

we're spying on them.

Get that camera over there.

Whose shit is this?

It's ours, it's ours...

Go, go, go, go, go.

You better fucking cover for me.

Cover for me. Fucking cover for me.

And then a couple of hours later,

life had started like nothing happened.

And the next day,

we come back and continue.

I'm not scared of the hoodlums

out there... the cops.

They go out and kill people.

The first image was the grandmother

of one of the three kids.

Everyone understood.

They understood what it was for.

There was no need to explain.

There was no text to put.

They knew what it meant.

My name is Rosiete Marinho

do Mesquita.

I was born and raised here in the first

favela of Rio de Janeiro.

It's called "Morro da Providência."

This is my place.

And I love it.

I always like to share who we are,

where we come from.

Our story.

Our history of the history

of this country.

But we are forgotten.

My house is known as

"The Widows' House."

My mother is a widow.

My aunt is a widow.

I am a widow.

My daughter is a widow.

The violence grew so much down there.

They think we're worth nothing.

The Morro is worth nothing.

As if we're trash.

Providência is only on TV

when there is a shooting.

There are many stories here.

We don't need to only tell the stories

of crime.

That's when we left.

I didn't want to do any interview.

I wanted the women

to tell their own story.

We're just waiting on Rosiete

to do her hair.

You have to look all fancy, right?

I didn't bring clothes like that.

The van is here!

Rosiete, the van is here.

Oh my God, don't rush me.

She looks great. Rosiete...

Beautiful. She's crushing it!

Let's go Rosiete!

Do I look pretty?

We're almost there.

Ah Rosiete. Rosiete look at this...

Look at you there, Rosiete.

It's you!

You don't like it?

Let your grandma take in the surprise.

She needs to recover from the "boom!"

Let's go, Miss Benedita!

Oh... my face!

Rosiete?

Give me a second.

My God! They never told me

it would be all this.

Someone noticed us.

I was just 'a woman from the favela.'

But now I became a 'superstar.'

You can't understand

what that feels like.

People want to get a book autographed

by me.

It shows that we are women,

like any other.

Social class no longer matters.

"For Tonia, the discovery of the

favela and of human dignity..."

It could be that tomorrow

everything goes back to normal.

But right now, we, the people from Morro

da Providência, are living this dream.

When I was back in Brazil,

a couple of months after,

the people in the favela were telling

me, "JR, there's no school there,

there's no NGO, there's nothing.

You have to do one." And I was 24...

"You want me to create a school?

I can't do that."

Mauricio kept calling me, "JR,

there's this house, this house is empty

Because it keeps receiving bullets

from the different shootings...

So no one wants it, and the old man

wants to sell it, you should buy it."

So I gather the money, and I went there.

I actually taped the money on my body,

and I walked up,

and bought the house from the old man.

The first thing we did

when we got the house

was go down the hill to the paint shop,

and bought all the yellow they had

because there was a sale that day

on the yellow,

and we called the house Casa Amarela,

the yellow house.

That's it. And then we had no program.

Here, let's line up.

What's your name?

Yuri.

Yuri with a Y?

-How old?

-13.

I am six.

-But what's your name?

-Tamires.

Mariana.

There was no chairs, no table,

nothing...

So our best idea was like,

"Oh, let's give a camera to the kids."

Now, you'll be taking portraits of people.

It can be your friend, your dad,

your mom.

We're going to let each

group roam freely.

And then bring the pictures back here.

Let's give them the cameras

so they can begin.

Do you understand what you're doing?

Tell me

We're taking photos of just the faces.

Yes. It can be anyone you want

except...

it can't be a drug dealer.

No one carrying a gun. Okay?

-Can I?

-Yes, go ahead.

Get out of there, Leandro!

Let me see.

That's awesome.

Look... Malu!

Everyone took photos

of their family and stuff,

and we pasted it and then we decided

to celebrate the launch of Amarela.

I thought it would be amazing if we

actually get the people from the city

to come up there, people who live

there and see the favela every day

and had never been up there.

And we went and saw the drug dealer

and we said, "Okay, tonight,

we want to launch this house,

and we want people from the city

to be able to come in.

Can we ask you a favor,

is that there'll be no guns

on the stairs?"

And they're like, "We don't know

if that's possible, we'll see."

A lot of people came.

People who live in Rio but had never

put a foot in Providência before.

And that night, I'll never forget,

each time I would walk up,

they raised their shirt

and they turned around back and front

to show me they had no gun.

That's the moment I realized

how culture have a huge power.

Those guys don't know anything about

art, but they had seen what we'd done,

and they accepted to take

off their gun for an opening,

I would have never imagined that.

Guys, this is a unique opportunity.

To show, not only to Rio de Janeiro,

but also everyone at the federal,

state an municipal government.

Guys, we need to show them

who we are. We Providência!

Ten years now, it's been ten years.

We built everything ourselves.

The class, the board,

everything is handmade.

I brought two friends,

one from Japan, one from the US,

and they covered the entire house,

like if a tree went

in and out of the doors.

We were just trying to keep going,

and with better years than others.

How do you show those kids

another path than drugs?

And we couldn't do it for every kid.

A lot of those kids

ended up being drug dealers.

-Which one are you?

-This one.

That's him right there.

And if you look at that photo,

he's the only one who survived.

All those kids, most of them

went into drug dealing or died.

That's just reality of life.

Art will not save everyone

and everything.

But when this project shines

all over the world,

showing a positive message for once,

for one of those places,

then they understood the power of art.

What happened

is the mayor saw his favela

the one he had wished before

it didn't exist, on TV every day,

but this time, for positive things.

So he sent the garbage truck.

Then he sent electricity,

"Let's redo those cables."

So since then,

a lot of things have happened.

But we were struggling

to bring artists there.

It's really hard to get people

past the fear of going to a place

where there's all this violence.

I looked, and I'm like,

"Well, we're here, the police,

the state don't come

and ask us any questions,

we can do whatever we want."

I went to see my neighbor,

and I said, "Hey, excuse me,

I have a question for you, what happens

if we build something in the sky?"

He said, "Well, I don't care, you know,

as long as it doesn't impact me,

do whatever you want."

So I said, "Well, I want

to build a moon up there,

that everyone sees it

from all over the city.

And I want that moon to be a bedroom,

so an artist, you when you'll go there,

everyone that will come and donate

time to the kids can sleep up there."

Gonna open the lock.

And it's open.

This is the moon, guys.

This is my favorite place, where

the teachers will come and lead class

in the school, and come in and sleep.

There's even AC in there.

And then, if you open...

What's up, Ari?

That's really top of the moon.

There are limits

that we all have within ourselves.

Limits about

what we all think is possible,

and what we think is not.

I have those too.

And yet people constantly show me

that these limits are not where

we think they were.

They are way further.

MONTFERMEIL LES BOSQUETS "B5"

FRANCE

-There you go!

-Hey Artistide.

How are you?

-How are you?

-Yes, I'm good.

-Where is it? Over there?

-Yeah.

I started over there.

I followed a lot of guys that work

on the destruction of the building.

Most of them are from Les Bosquets.

Some of them even lived in the B5.

So they are taking part in

the destruction their own home.

It's like a tribute to not forget

what they are the going through.

It seems very important to me.

I don't want to just do my thing...

You want to know the story.

Involve and talk to people.

That's important.

It gives them a chance to exist

through this project.

-Ladj, can I film you?

-Yeah, sure.

I think you're one

of the last residents to document...

Most of the kids here don't

have access to museums.

They don't have access to culture.

They're not used to seeing

Parisian monuments.

For people here the B5 is the last

monument of the city.

All of the kids in the neighborhood

see his eyes.

They know Ladj's story

and is connection to this building.

He even made a movie about

it that took him to the Oscars.

Knowing this story, it opens a world

of possibilities for them.

It shows them that you don't

need much to create.

You can do anything you dream of.

And that will be passed along,

just like it was passed to me.

For me that's the true power of art.

It's not only about the art,

it's about the people.

My friend Agnes Varda believed that

inside of each person is a landscape

I would say that within all landscapes,

behind all walls,

are people.

PAPER & GLUE

THANK YOU TO EVERYONE FROM

LES BOSQUETS IN

CLICHY MONTFERMEIL, FRANCE

IN 2017, WE CREATED A MURAL

IN MONTFERMEIL FEATURING 750

PEOPLE FROM THE COMMUNITY

INCLUDING THE MAYOR

WHO HAD SUED US EARLIER

FOR DEFACING PROPERTY

FRENCH PRESIDENT HOLLANDE

DECLARED THE MURAL

PART OF THE CULTURAL HISTORY

OF FRANCE

IN 2018, WE TOOK THIS

CONCEPT TO THE SUA

CREATING THE CHRONICLES

OF SAN FRANCISCO

AND THE CHRONICLES

OF NEW YORK CITY

EACH OF THESE MURALS FEATURES

OVER 1,000 PEOPLE,

CREATING PORTRAITS

OF THESE CITIES

THROUGH THEIR PEOPLE

AND THEIR STORIES

IN 2019, LADJ LY RELEASED HIS

FIRST FEATURE FILM

"LES MISÉRABLES" ABOUT POLICE

VIOLENCE IN MONTFERMEIL

IT WON THE CANNES JURY PRIZE

AND WAS NOMINATED

FOR AN OSCAR

THANK YOU TO EVERYONE IN

MORRO DA PROVIDENCIA -BRAZIL

ROSIETE CONTINUES TO LIVE

IN PROVIDÊNCIA

WHERE SHE IS THE PRESIDENT

OF THE PORT ZONE BLOCO LEAGUE

IN 2010, SHE MADE HER FIRST TRIP

OUT OF RIO TO BRING HER EYES

AND HER STORY TO PARIS

PAULO IS BACK IN BRAZIL WORKING

ON A COLLABORATION

BETWEEN CASA

MARELA AND ÉCOLE

KOURTRAJMÉ

THANK YOU TO THE ÉCOLE

KOURTRAJMÉ CLASS 2020

THEY PRESENTED

THEIR FINAL WORK

AT THE FAMED PALAIS

DE TOKYO MUSEUM IN PARIS

IT WAS ONE OF THE MOST

WELL ATTENDED SHOWS

IN THE HISTORY OF THE MUSEUM

THANK YOU TO EVERYONE

IN TECATE, MEXICO

WHO MAKE THE KIKITO AND

BORDER PICNIC PROJECTS REALITY

MAYRA EARNED

A MASTERS DEGREE

AND WORKS IN PUBLIC HEALTH

FOR THE STATE OF CALIFORNIA

KIKITO AND HIS MOM CONTINUE

TO LIVE BY THE WALL

THANK YOU EVERYONE AT

THE CALIFORNIA CORRECTIONAL

INSTITUTION PRISON

IN TEHACHAPI, CALIFORNIA

Art Spiegelman wrote a book about

his parents' experience in Auschwitz.

He signed it for Kevin.

And Kevin's right there,

he wants to say something.

Thank you very much, Art, and I do look

forward to meeting you one day.

-For sure.

-For sure. Without the tattoo!

IN 2020, THE CALIFORNIA

DEPARTMENT OF CORRECTIONS

AND REHABILITATION LAUNCHED

A TATTOO REMOVAL PROGRAM

-Come on, give me some French.

-Look at him.

Damn, that's a good look, right there.

Okay, let me run

to from the point of view.

And that's what it looks like.

No more walls. Yeah!

THE PRISON STAFF AND

INMATES ARE PLANNING

A COURSE CALLED

"THE POWER OF ART"