[00:00:00.00]
[solemn violin music]

[00:00:05.03]
[birds chirping]

[00:00:13.04]
[music continues]

[00:00:21.09]
[soft drumming]

[00:00:27.03]
[birds chirping]

[00:00:29.06]
[gentle string music]

[00:00:50.06]
[music continues]

[00:01:11.05]
[music continues]

[00:01:43.05]
[music continues]

[00:02:37.00]
[metallic clanking]

[00:02:44.05]
[coins clinking]

[00:02:47.07]
- [Dan] Can you pass me
a penny please, Heather?

[00:02:50.06]
[Dan laughing]

[00:02:53.08]
- Our methods of working

[00:02:55.01]
involve a lot of wrestling
[both chuckling]

[00:02:59.00]
in a very passive, loving way.

[00:03:02.01]
- Thank you.
[Heather laughing]

[00:03:05.03]
- [Heather] And we do work together.

[00:03:06.04]
- Yeah, we collaborate
on nearly everything,

[00:03:08.09]
and I think just the
nature of living together

[00:03:12.09]
and working together, you're
sharing ideas all the time

[00:03:16.01]
and talking things through all the time.

[00:03:19.01]
We were aware of pangolins and
the plight of the pangolin,

[00:03:22.00]
it's one of the most predated
species on the planet.

[00:03:25.06]
- [Heather] The...
- [Dan] The most, yeah.

[00:03:27.06]
- The most predated mammal.
- Mammal.

[00:03:29.00]
It's being hunted partly, some
people say it tastes good,

[00:03:32.03]
but also mainly for its scales

[00:03:35.00]
that supposedly have
medicinal properties...

[00:03:37.07]
- [Heather] Medicinal properties.

[00:03:38.05]
- ...rather like the rhino
horn, which is absolute rubbish.

[00:03:43.01]
It's the same stuff as our
fingernails are made of, or hair.

[00:03:46.07]
- This one was very
much borne out of the...

[00:03:49.04]
Working at...
- Working at the...

[00:03:51.03]
- What is now the David
Attenborough Building.

[00:03:52.08]
- Yeah, the--
- [Heather] Yeah.

[00:03:53.06]
- [Dan] The Cambridge
Conservation Initiative.

[00:04:03.06]
- We had a three-year
residency which was fantastic,

[00:04:06.07]
working at the University of Cambridge,

[00:04:10.05]
this whole new building
which opened in 2016,

[00:04:13.03]
which has brought together all
of these really incredible,

[00:04:15.06]
sort of global conservation organizations

[00:04:19.02]
working together under one roof.

[00:04:23.03]
- We are now heading for the
sixth largest mass extinction

[00:04:28.04]
on the planet, and you can't
just sit around and do nothing.

[00:04:32.01]
Well, I certainly can't.
- We're in the midst of it.

[00:04:33.02]
- Oh.
- Yeah, yeah.

[00:04:34.01]
- But we're in the midst
of it, we're not...

[00:04:35.03]
- Well, yeah.

[00:04:36.01]
- It's just the rapidity of it.

[00:04:37.04]
- And the extinction rate is 1000 times

[00:04:40.04]
above the pre-human fossil record.

[00:04:43.06]
I mean, it's absolutely shocking

[00:04:46.02]
what we have done to the
planet, and it is human induced,

[00:04:49.08]
and yet everyone seems to be
going on business as usual.

[00:04:52.04]
And, I'm sorry, it can't be,
it has to change.

[00:04:56.00]
[energizing rock music]
[indistinct chatter]

[00:05:11.08]
- I mean we're living
in not a climate crisis

[00:05:14.02]
but a climate catastrophe,

[00:05:15.07]
and I think it's so
interesting that artists

[00:05:17.08]
actually are the ones
who very much led the way

[00:05:22.00]
in raising consciousness,
in their art works,

[00:05:25.01]
but also just, you know,
being constantly concerned

[00:05:27.09]
and very creative about how
to make the rest of the world

[00:05:31.04]
sit up and take notice.

[00:05:32.04]
I mean the visual art sector is a tiny one

[00:05:34.05]
compared to, you know,
aviation or construction

[00:05:37.04]
or any of these massive industries,

[00:05:39.03]
but we punch above our
weight in the arts sector,

[00:05:42.01]
and I think Dan and Heather

[00:05:43.03]
have been absolute
pioneers in that aspect.

[00:05:47.08]
- Yeah, I think we should.

[00:05:49.07]
[soft instrumental music]

[00:05:59.09]
- [Dan] Just putting the
glass shelf down here.

[00:06:02.05]
- [Heather] Lying on the
shelf rather than pinning it?

[00:06:04.04]
- [Dan] No, just lying the
shelf down here in storage.

[00:06:07.05]
- [Heather] Okay.

[00:06:08.06]
[Heather exclaiming]

[00:06:11.09]
- [Dan] This side.

[00:06:12.08]
- Your pangolin, sir!

[00:06:14.06]
[Dan chuckling]

[00:06:15.07]
- [Dan] Thank you, take it away.

[00:06:17.00]
[indistinct chatter]
[hammer thudding]

[00:06:19.08]
I like it.
- [Heather] There you go.

[00:06:21.01]
- [Dan] I like its...
- [Heather] Never know.

[00:06:22.05]
No, no, you wouldn't know it.

[00:06:27.07]
- The intermingling of art and science,

[00:06:29.06]
and artists and scientists,
creates new ways of looking,

[00:06:32.06]
new ways of saying what
we're concerned about,

[00:06:35.02]
and that is just very powerful.

[00:06:36.05]
Several of my colleagues
have just been at Davos,

[00:06:39.08]
at the World Economic Forum,

[00:06:41.00]
talking about the importance of nature,

[00:06:43.01]
including David Attenborough of course.

[00:06:45.02]
- [Dan] Yeah.

[00:06:46.00]
- And I'm sure that some of that language

[00:06:47.07]
that is being used in Davos at the moment

[00:06:49.03]
is fueled by the encounters

[00:06:50.08]
they've been having in this building,

[00:06:52.02]
both with the science
but also with the arts.

[00:06:54.05]
[solemn string music]

[00:07:01.01]
- From a distance, everybody
thought blank canvas,

[00:07:03.04]
you know?
[people chuckling]

[00:07:04.04]
And then, you kinda get close

[00:07:05.05]
and then you see all of this data.

[00:07:09.08]
[music continues]

[00:07:13.05]
The data was extracted in
October 2015, and at that point,

[00:07:18.01]
there were 4,734 critically
endangered species.

[00:07:22.04]
Very, very faintly printed.

[00:07:24.08]
The idea was, well, for
public participation,

[00:07:27.07]
to put on the cotton gloves,

[00:07:30.00]
always the Latin name in red,

[00:07:31.08]
and if there was a common name,

[00:07:33.06]
then to overwrite it in black,
bringing it into visibility.

[00:07:37.04]
[indistinct chatter]

[00:07:40.02]
Bigfoot splayfoot salamander.

[00:07:46.06]
When we go to Italy,

[00:07:47.05]
we often take a woodland
walk just close to our house,

[00:07:51.06]
and I think in October
there's always a chance

[00:07:55.05]
of seeing a lot of the
very beautiful salamanders

[00:07:58.06]
which are bright yellow and black,

[00:08:00.06]
when we go for a walk with your daughter

[00:08:02.05]
and grand-daughter as well.

[00:08:03.06]
- [Dan] Yeah.

[00:08:04.05]
[child yelling]

[00:08:05.07]
[lady speaking foreign language]

[00:08:06.07]
[child speaking Italian]

[00:08:07.06]
[Dan speaking Italian]

[00:08:12.03]
- One time we were walking along

[00:08:13.08]
and we saw 38 salamanders
just in half an hour walk.

[00:08:18.08]
But more recently we did it,
very similar time of year,

[00:08:21.07]
same sort of damp weather,
and we only saw four.

[00:08:25.03]
[gentle orchestral music]

[00:08:31.07]
- I overwrote the bigfoot
splayfoot salamander.

[00:08:35.07]
- [Group Member] Wow.
- Wow.

[00:08:37.01]
- And actually, the piece has a power

[00:08:40.07]
and an emotionality to it that
always takes us by surprise,

[00:08:45.01]
and we know that it's very
affecting to many people

[00:08:47.04]
because it is...

[00:08:49.08]
In one sense, it is data,

[00:08:51.06]
but on the other hand, it's so much more.

[00:08:54.09]
And behind that word, behind that name,

[00:08:57.07]
lies an incredible complexity

[00:09:00.00]
and incredible stories as well.

[00:09:02.09]
- I mean, although you know

[00:09:04.00]
that there's an awful lot
of names there and data

[00:09:06.03]
and you can read how many names it is,

[00:09:08.00]
it's not the same as trying
to see it all as one wall,

[00:09:12.04]
which almost became like a memorial wall

[00:09:15.04]
except every name is an entire species.

[00:09:18.04]
There's something really
quite shocking about that.

[00:09:21.09]
- They were the Olympic artists.

[00:09:23.03]
They were the choice of the main artists

[00:09:25.02]
for the Olympic Park in 2012.

[00:09:27.02]
They did this extraordinary project

[00:09:28.05]
which was 10 trees at
each of the 10 entrances

[00:09:31.07]
to the East end of the Stratford Park.

[00:09:34.00]
And these trees were planted,

[00:09:35.03]
they were trees that came
from the UK and beyond,

[00:09:37.01]
mature trees, and in each of
the trees, in their branches

[00:09:40.03]
there was a ring, like an Olympic ring,

[00:09:42.05]
with the history of the
community and the site

[00:09:45.03]
embedded into the ring.

[00:09:46.07]
So it was a really beautiful, thoughtful,

[00:09:49.01]
site-specific piece.

[00:09:50.04]
It came out of many interviews

[00:09:52.00]
with the local population,
the local community,

[00:09:54.03]
so people could feel
that they had ownership

[00:09:55.08]
of this piece, it wasn't
just some thing dumped

[00:09:57.09]
as a sort of Olympic trophy, it wasn't.

[00:09:59.09]
It's not like that ridiculous Mittal Tower

[00:10:02.02]
that Anish Kapoor made which
just looms over the horizon,

[00:10:05.02]
you know.

[00:10:06.00]
The profile was more
subtle and more nuanced.

[00:10:12.00]
[birds chirping]

[00:10:17.00]
I knew Dan before he knew
Heather, in the '80s.

[00:10:20.00]
My friend James Birch ran a
gallery in the New Kings Road,

[00:10:23.01]
and he had a show,
this extraordinary artist

[00:10:25.07]
who I thought was still
at the Royal College,

[00:10:27.03]
or he'd just finished.

[00:10:28.06]
And so Dan was always very
environmentally concerned,

[00:10:33.00]
very, you know, loving materials.

[00:10:36.02]
I mean, he's a really
extraordinary eco-artist visionary.

[00:10:40.02]
And this stuff wasn't very
fashionable in the late '80s

[00:10:42.03]
into the '90s.

[00:10:43.04]
It was very much kind of
neo-pop, it was very urban art.

[00:10:46.06]
There were a few people
like Andy Goldsworthy,

[00:10:48.06]
Richard Long, Hamish Fulton,

[00:10:50.03]
who were making work
about the natural world,

[00:10:52.04]
but you know Dan was very
much out on a limb doing this

[00:10:55.03]
and doing it beautifully.

[00:10:57.01]
Heather, I didn't meet
until quite some time later,

[00:11:00.03]
and she was very much
associated with performance art,

[00:11:03.07]
a wonderful wordsmith, performer,

[00:11:07.08]
incredible physical presence.

[00:11:09.03]
And then obviously the two tectonic plates

[00:11:11.00]
of Ackroyd and Harvey came
together, and boy did they.

[00:11:14.09]
I mean, it was very much a
kind of, you know, passionate,

[00:11:18.06]
intertwined, you know,
extraordinarily wonderful situation

[00:11:22.08]
where they were working
together, living together,

[00:11:24.09]
and making these drop
dead gorgeous artworks.

[00:11:27.07]
[gentle instrumental music]

[00:11:33.02]
[Heather speaking indistinctly]

[00:11:43.04]
[music continues]

[00:11:52.06]
[water lapping]

[00:12:00.07]
[gulls calling]

[00:12:04.08]
[dissonant instrumental music]

[00:12:12.00]
One that really struck me

[00:12:13.06]
was when they grassed the
inside of Dilston Grove,

[00:12:16.08]
this extraordinary concrete
Romanesque-style church

[00:12:20.03]
in Southwark Park.

[00:12:21.04]
It was one of the most beautiful things,

[00:12:22.07]
still, that I've ever seen really.

[00:12:26.07]
[dissonant instrumental music]

[00:12:32.01]
- What's it all about?

[00:12:33.00]
What's the point?

[00:12:33.08]
This isn't art.

[00:12:35.00]
What do you say to that?

[00:12:36.07]
- I think when you enter in to this space,

[00:12:41.02]
and see the grass growing up on the wall,

[00:12:43.04]
and smell it and feel the humidity,

[00:12:45.09]
then a lot of those questions
go out of the window.

[00:12:47.08]
- You can smell it, of course.

[00:12:48.06]
- Yeah, the smell.

[00:12:49.05]
And it becomes much more
of an experiential thing.

[00:12:52.09]
- '79, 1979, I met Heather.

[00:12:56.06]
I was 21, she was 19.

[00:12:59.01]
And I was this artist-in-residence
at this college,

[00:13:01.05]
Crewe and Alsager College,
where she was studying.

[00:13:04.05]
And me and her got on
straightaway, you know

[00:13:07.04]
we shared the same studio space.

[00:13:09.07]
And then I remember organizing
a field trip to Wales,

[00:13:13.02]
to David Nash, the artist,

[00:13:15.01]
who I'd studied with
when I was at college.

[00:13:19.04]
And I took a group of the students

[00:13:21.05]
and they spent a day with him,

[00:13:23.09]
and Heather was completely bowled over.

[00:13:29.04]
- David Nash, he had just
started a very famous art work

[00:13:33.04]
called the Ash Dome,

[00:13:35.02]
and I was just sort of intrigued
and, you know, inspired

[00:13:40.08]
to see an artist working
with living plant material.

[00:13:44.02]
So I just went back to college

[00:13:45.03]
and raided the local gardener's stock,

[00:13:48.00]
and started work with grass seeds.

[00:13:50.04]
- Yeah, I mean, Heather and Dan,

[00:13:52.00]
I was so pleased when they met, you know?

[00:13:53.07]
I mean, it just seemed like, you know,

[00:13:57.01]
they were making love on bags of seed,

[00:13:59.09]
[laughing]

[00:14:01.05]
and then later went on to have a child.

[00:14:03.06]
It was really, you know, fantastic,

[00:14:06.00]
because I think they had
very symbiotic attributes,

[00:14:10.04]
you know, and I think
between the two of them,

[00:14:12.04]
they pooled all their knowledge

[00:14:15.01]
and that's how they could
make that quantum leap.

[00:14:17.09]
Which it was, a quantum leap,

[00:14:19.03]
when they first made a photographic image,

[00:14:21.03]
you know, out of grass.

[00:14:23.03]
That was a really big, big breakthrough.

[00:14:25.02]
I think it's amazing to use
photosynthesis in that way.

[00:14:30.02]
[gentle string music]

[00:14:46.01]
[coins clinking]

[00:14:51.05]
- So yesterday, the London
Fashion Show Week opened.

[00:14:56.06]
And so all of the great and glorious

[00:14:58.08]
around the fashion world are
congregating into London.

[00:15:02.01]
And we're going to be doing a piece

[00:15:05.00]
in and around Extinction Rebellion.

[00:15:07.01]
So this one has been branded

[00:15:09.03]
with the Extinction Rebellion
logo, which is the hourglass.

[00:15:15.06]
Gently, gently, gently.

[00:15:21.09]
- [Dan] How does it look?

[00:15:23.07]
- [Heather] No, it's great.
Quite yeti-ish.

[00:15:26.08]
- [Dan] And does the symbol show up?

[00:15:29.02]
- [Heather] Turn 'round?

[00:15:31.05]
Yeah, it's quite subtle.

[00:15:33.00]
- [Dan] Uh-huh.
[Dan chuckling]

[00:15:33.09]
- I like it.

[00:15:34.07]
I like it, it's subtle.

[00:15:35.05]
- [Celeste] We're gonna
plant the seeds in London.

[00:15:37.09]
- [Dan] Yeah. [laughing]

[00:15:38.09]
Wherever we go.

[00:15:39.08]
[indistinct chatter]

[00:15:43.04]
- We're meeting up with
other people at Temple Tube.

[00:15:47.03]
We're also meeting up
with a wonderful woman

[00:15:48.09]
called Pam Lucas who's 70,
and she does modeling as well.

[00:15:53.03]
She's incredibly striking,

[00:15:54.05]
and she's agreed to wear
the coat, which is great.

[00:15:57.03]
[birds chirping]

[00:15:58.09]
[vehicle engine rumbling]

[00:16:01.02]
[indistinct chatter]
[people laughing]

[00:16:04.03]
So we haven't done these since
the early 1990s, actually.

[00:16:08.03]
- [Policewoman] Going retro?

[00:16:09.02]
- That was for anti-fur campaign.

[00:16:11.08]
[people laughing]

[00:16:13.05]
- She's very, very impressive.

[00:16:15.04]
- The organization Lynx

[00:16:16.08]
has been marking the 5th
anniversary of its campaign

[00:16:19.07]
against the wearing of fur.

[00:16:21.06]
It's claiming near overwhelming success,

[00:16:24.00]
and says the time's now come

[00:16:25.04]
for the fashion trade to
completely abandon the fur.

[00:16:28.07]
- [Reporter] Here's one
material no one can object to.

[00:16:30.09]
They don't come any greener than this.

[00:16:32.07]
Coats, hats, even a Filofax

[00:16:34.06]
made out of living, growing grass.

[00:16:38.03]
- There's going to be a
lot of raised emotions

[00:16:42.05]
by what we're doing today.

[00:16:43.06]
We're confronting people with the truth

[00:16:45.04]
of this climate and ecological emergency.

[00:16:48.01]
And we'll also be disrupting Fashion Week.

[00:16:50.03]
This is a major event

[00:16:51.07]
for those people that are a
part of it, and they're not...

[00:16:54.07]
We're not in opposition to them.

[00:16:57.00]
We're coming here to invite them

[00:16:58.05]
to be part of a global uprising
that looks at climate change

[00:17:02.06]
and the impacts of this
ecological collapse,

[00:17:05.06]
and acts in accordance with that.

[00:17:07.06]
It is a massive cultural industry.

[00:17:10.05]
If one girl, Greta Thunberg,

[00:17:12.09]
can after six months of taking action

[00:17:15.00]
get hundreds and thousands of children

[00:17:17.01]
taking action alongside her,

[00:17:19.00]
then imagine what the
fashion industry could do

[00:17:21.09]
if it turned its attention

[00:17:23.06]
to the reality of ecological collapse.

[00:17:27.00]
[church bells chiming]

[00:17:31.02]
[bus engine revving]
[indistinct chatter]

[00:17:35.06]
[camera clicking]

[00:17:36.06]
- Thank you very much, have a good one.

[00:17:38.06]
[indistinct chatter]

[00:17:43.02]
- How does it feel?

[00:17:44.07]
- Lumpy.

[00:17:45.06]
[Heather laughing]

[00:17:47.06]
[indistinct chatter]
[cameras clicking]

[00:18:00.00]
- Funny when you think back
to the Lynx anti-fur campaign,

[00:18:03.03]
and how actually what
everyone sort of wanted

[00:18:05.09]
was synthetic fur, and now we
find ourselves in a situation

[00:18:09.01]
where the plastics are
ruining the oceans and things

[00:18:12.03]
and the fibers from washing clothes.

[00:18:14.03]
The fashion industry

[00:18:15.03]
has a huge cultural impact on people too,

[00:18:18.09]
and I think if we can get people to think,

[00:18:20.08]
and certainly within the fashion world

[00:18:22.04]
to maybe re-approach their
supply lines and things,

[00:18:25.09]
then changes can happen,
changes have to happen really.

[00:18:29.00]
[indistinct chatter]

[00:18:30.08]
- I like it, it moves with me.

[00:18:33.00]
[cameras clicking]

[00:18:34.09]
- What they're doing
is either so beautiful

[00:18:36.09]
or so weirdly out of place,
or idiosyncratic,

[00:18:40.03]
that it kinda does make you
stop and think, "What is that?"

[00:18:43.03]
And I think that's the magic.

[00:18:44.09]
Once you've captured your audience,

[00:18:46.08]
they will stay with you
and they'll see it through.

[00:18:48.08]
And maybe receiving a message in that way

[00:18:51.06]
is much more powerful than seeing it,

[00:18:53.03]
like, on a great big billboard.

[00:18:56.05]
- [Fiona] Or even throwing paints?

[00:18:58.00]
- Or even throwing a
can of Campbell's soup

[00:19:00.05]
at a painting, yeah.

[00:19:02.00]
- [Protestor] What do we want?

[00:19:02.08]
- [Kids] Climate justice!

[00:19:03.08]
- [Protestor] When do we want it?

[00:19:04.08]
- [Kids] Now!

[00:19:05.06]
- [Protestor] What do we want?

[00:19:06.06]
- [Kids] Climate justice!

[00:19:07.06]
- [Protestor] When do we want it?

[00:19:08.07]
- [Kids] Now!

[00:19:09.06]
- [Protestor] What do we want?

[00:19:10.06]
[indistinct chatter]

[00:19:13.00]
[gentle string music]

[00:19:18.01]
- It was just really, really moving.

[00:19:20.07]
It kind of choked me up a bit,

[00:19:22.01]
you know, just seeing
all of these young people

[00:19:24.00]
just saying, "Enough is enough,"

[00:19:25.04]
you know, "This is our future

[00:19:27.00]
that you're making a
completely disposable,

[00:19:30.00]
you know, degraded, disastrous future.

[00:19:32.05]
This is unacceptable."

[00:19:33.08]
- [Protestors] What do we want?

[00:19:34.07]
Change!

[00:19:35.05]
When do we want it?

[00:19:36.03]
Now!

[00:19:37.02]
- We want change! We want change!

[00:19:40.01]
- [Protestors] We want change!

[00:19:41.07]
- [Heather] The bigger issues, of course,

[00:19:43.04]
are around who controls media,
who controls power.

[00:19:49.02]
♪ Oh, Jeremy Corbyn ♪

[00:19:52.09]
♪ Oh, Jeremy Corbyn ♪

[00:19:56.02]
♪ Oh, Jeremy Corbyn ♪

[00:19:59.05]
[people cheering and yelling]

[00:20:02.00]
[bus horn honking]

[00:20:03.04]
[people cheering]

[00:20:12.08]
[policeman talking indistinctly]

[00:20:16.06]
- Thousands of children across the UK

[00:20:18.03]
are on strike from school today,

[00:20:19.08]
joining worldwide protests
against climate change.

[00:20:22.08]
They've denounced the government

[00:20:23.09]
for what they call an
alarming lack of leadership.

[00:20:26.06]
Downing Street has criticized
the children's action,

[00:20:29.03]
saying the disruption
increases teachers' workloads

[00:20:31.09]
and wastes lesson time.

[00:20:33.02]
[relaxed rock music]

[00:20:49.00]
[horse hooves clopping]

[00:20:56.05]
[music continues]

[00:20:59.07]
- "Culture Declares Climate Emergency."

[00:21:02.01]
Bit of a mouthful, but it
launched in a really fantastic way

[00:21:07.01]
with Dan and Heather at
the forefront of this.

[00:21:10.00]
They're co-founders.

[00:21:11.01]
[bell ringing]

[00:21:14.08]
And boy, did they make institutions
sit up and take notice.

[00:21:17.02]
Because they're artists,

[00:21:18.06]
they made this visually arresting scenario

[00:21:21.04]
where a woman in this
green, living grass coat

[00:21:25.04]
on a white horse paraded
through the streets of London,

[00:21:28.04]
and people ringing bells.

[00:21:30.01]
Amazing poetry and statements are made.

[00:21:33.01]
[bells ringing]

[00:21:36.03]
- Dear Earth,

[00:21:38.00]
I did not mean to wreck our home.

[00:21:42.01]
I just forgot how to dwell with you.

[00:21:46.01]
Even when you told me what
would happen, I forgot.

[00:21:51.08]
Even when you tell me what
is happening, I forget.

[00:21:57.01]
- The human imagination is infinite.

[00:22:00.02]
We are all creators, makers,
and alchemists of change.

[00:22:05.03]
Be bold, active players in
this great re-imagining.

[00:22:10.05]
This is why and how culture matters.

[00:22:13.02]
[indistinct chatter]

[00:22:15.03]
- Into the Turbine Hall of Tate,

[00:22:17.00]
and all credit to Tate
to allow that to happen,

[00:22:19.05]
because it wasn't a
guerrilla activity, it was--

[00:22:22.02]
Permission was given, but
it was still extraordinary.

[00:22:25.03]
Clippety-clop, in goes the horse.

[00:22:26.08]
[bells ringing]
[indistinct chatter]

[00:22:28.08]
- I wanted them to come into Tate Modern.

[00:22:31.01]
And it wasn't the first time
we had horses in the building,

[00:22:33.06]
so I knew we could do it,

[00:22:35.03]
but it was a bit of a scramble

[00:22:36.05]
to get everything ready in time

[00:22:39.00]
and to get everybody on
board and the security team.

[00:22:41.06]
But everybody thought it was a great idea.

[00:22:43.04]
Some of them were slightly worried

[00:22:44.03]
about the horse slipping on the ramp.

[00:22:47.01]
But I was in my office and I got a call

[00:22:49.08]
to say, "They are coming in."

[00:22:51.09]
We just ran down to the Turbine Hall

[00:22:54.07]
while we got ourselves onto
the bridge, totally breathless,

[00:22:57.05]
so we could welcome them.

[00:23:00.00]
- There is no doubt.

[00:23:04.01]
There is no doubt.

[00:23:08.05]
Humanity faces combined catastrophes,

[00:23:13.04]
climate change, mass extinction
of vital bio-diversity,

[00:23:19.09]
degradation of habitats and eco-systems.

[00:23:24.00]
We invite you

[00:23:27.08]
to join us.

[00:23:30.04]
[people cheering]
[bells ringing]

[00:23:40.00]
♪ I am an endangered species ♪

[00:23:46.03]
♪ But I sing no victim's song ♪

[00:23:52.05]
♪ We are human and we are artists ♪

[00:23:56.02]
♪ And we, we know where
our voice belongs ♪

[00:24:01.06]
- It was the visually arresting image

[00:24:03.06]
that was the real kicker, you know,

[00:24:05.00]
and pictures of that
really put Culture Declares

[00:24:08.02]
onto the map and made
other institutions think,

[00:24:10.06]
"Ooh, Tate are doing this."

[00:24:11.06]
It doesn't make us look very good."

[00:24:13.02]
So the art world is one of
the most status-anxious,

[00:24:16.01]
self-conscious, you know, sectors ever,

[00:24:18.02]
so it made a huge difference
in making individuals,

[00:24:21.07]
but particularly institutions,
sit up and take notice.

[00:24:24.08]
- [Heather] It went really well.

[00:24:27.04]
- [Bystander] Is this the same one

[00:24:28.02]
that you had at the Fashion?

[00:24:29.03]
- No, they dried.
- No, lad.

[00:24:31.07]
On the 15th, we have the
International Rebellion Day,

[00:24:35.03]
and that, I believe, is going
to be shutting down London

[00:24:38.04]
and numerous other cities worldwide

[00:24:41.04]
for as long as it takes,
whether that's--

[00:24:44.01]
Well, it's not gonna be a day, is it?

[00:24:47.00]
[energetic instrumental music]

[00:24:58.01]
- It's estimated that there are 206

[00:25:03.04]
already-known Extinction Rebellion groups

[00:25:06.06]
across 20 to 30 countries,
to start with.

[00:25:09.08]
The big date, the big date
to put in everybody's diary

[00:25:14.03]
is April the 15th to the 19th.

[00:25:17.09]
- It's a Monday.

[00:25:18.08]
[people chuckling]

[00:25:20.02]
- So, yeah, Monday the 15th
of April till the 19th,

[00:25:24.02]
there will be sustained
24-hour peaceful, non-violent

[00:25:30.04]
direct action, disruptive
civil disobedience

[00:25:34.07]
throughout London.

[00:25:36.09]
This may not be it, but
this is one hell of a path

[00:25:41.09]
in getting to where we
need to be, so, yeah.

[00:25:45.03]
- I had been part of a small group,

[00:25:47.05]
including Dan and Heather,

[00:25:49.00]
who had been involved in
the anti-fracking movement

[00:25:50.09]
in Dorking.

[00:25:52.02]
And we got wind that
something was happening

[00:25:55.06]
through Rising Up,

[00:25:57.01]
and there was the sense
that it was going to be big.

[00:26:01.02]
We'd done various preparations
for the first Rebellion.

[00:26:05.00]
[church bells chiming]

[00:26:07.00]
[children yelling]

[00:26:10.06]
[indistinct chatter]

[00:26:13.08]
Myself and many other Christians

[00:26:17.02]
would use Jesus as an example
of non-violent direct action.

[00:26:21.01]
He uses non-violent direct
action to get his message across,

[00:26:24.09]
to show the love of God.

[00:26:26.09]
[relaxed instrumental music]

[00:26:53.09]
[indistinct chatter and laughing]

[00:27:08.09]
[indistinct chatter]

[00:27:13.04]
[protestors singing]

[00:27:23.00]
- We wish to make peace with ourselves

[00:27:26.01]
by making peace with our neighbor Earth

[00:27:30.07]
and with our God.

[00:27:32.01]
[cheering and applauding]

[00:27:39.01]
Help us to see clearly

[00:27:40.07]
the way to restore right
and just relationships

[00:27:44.03]
with the environment and each other,

[00:27:46.08]
for the good of all, in Jesus' name.

[00:27:50.06]
Amen.

[00:27:51.07]
[Crowd] Amen.

[00:27:53.04]
[upbeat instrumental music]

[00:28:03.02]
- We've got the people from
the Extinction Rebellion group

[00:28:06.06]
who started arriving in
Hyde Park last night.

[00:28:09.02]
And it grew up to about
200 people last night

[00:28:12.05]
who gathered all through the park,

[00:28:14.04]
causing us a few issues at the Royal Parks

[00:28:16.07]
because the plan was they're
gonna camp out overnight.

[00:28:21.04]
And being a Royal Park

[00:28:22.02]
and in Royal Park regulations,
it's actually an offense.

[00:28:25.08]
You're not allowed to camp in the park.

[00:28:28.02]
Well, we're gonna have to work with them.

[00:28:29.02]
Many problems, you have to
work pragmatically to solve it.

[00:28:32.09]
You know, you can't physically
stop people camping.

[00:28:36.00]
It's just not gonna happen.

[00:28:37.07]
It's not perceived to be a good way

[00:28:39.06]
of using police resources,
and it's just not right.

[00:28:42.07]
And when you've got everybody there

[00:28:44.03]
who's decent law-abiding people

[00:28:46.06]
who are behind a good cause,

[00:28:48.01]
you have to work with it to solve it.

[00:28:52.05]
I'm actually a druid, that's
just my spiritual path in life.

[00:28:56.08]
And I've considered myself
a pagan since I was born.

[00:28:59.06]
So policing, especially in the parks,

[00:29:02.01]
is very much a part of my spiritual way.

[00:29:07.01]
Have a great day.
- Thank you!

[00:29:10.09]
[muffled music playing]

[00:29:14.02]
- I'm happy to be arrested.

[00:29:16.01]
I hope it does start
to clog up the system.

[00:29:19.07]
A lot of people are prepared
to be arrested for this cause,

[00:29:23.01]
and a lot of people like me

[00:29:24.09]
who are grandmothers, who are mothers,

[00:29:27.05]
people who have never
been activists before.

[00:29:30.07]
- I'm here for my baby.
Not just for my baby,

[00:29:32.06]
I'm here for all the
animals that can't speak,

[00:29:34.07]
I'm here for the trees that can't speak

[00:29:38.01]
but that spend their days looking
after us by making oxygen.

[00:29:42.01]
- This is my 9-month baby girl, Amelie.

[00:29:45.00]
And yeah, of course, it's like a--

[00:29:46.06]
That was actually--

[00:29:47.07]
It's been a few years that we
were really thinking about,

[00:29:50.03]
should we have a child or not?

[00:29:51.07]
And really, one of the
main concerns for me

[00:29:53.06]
was just, like, you know, what
planet and what situation,

[00:29:56.01]
the society and culture
we're bringing our baby into.

[00:29:58.05]
- I'm a single person,
I could say I don't care

[00:30:00.03]
about the carbon and all those stuff,

[00:30:02.07]
but my conscience wouldn't
allow me to do that, so.

[00:30:06.08]
I want a safer home, because
the planet Earth is our home.

[00:30:11.08]
[helicopter blades whirring]

[00:30:19.01]
- We were just lying down on the street

[00:30:21.02]
because we saw people
were blocking the road

[00:30:23.08]
and we know that we wouldn't get run over.

[00:30:26.03]
- We didn't really think
it was gonna be like this.

[00:30:28.07]
This is amazing.

[00:30:30.01]
[upbeat instrumental music]

[00:30:52.06]
[indistinct chatter]

[00:30:57.07]
- [Protestor] Whose planet?

[00:30:58.09]
- [Protestors] Our planet!

[00:31:00.02]
- [Protestor] Whose children?

[00:31:01.04]
- [Protestors] Our children!

[00:31:02.07]
- [Protestor] Whose future?

[00:31:03.09]
- [Protestors] Our future!

[00:31:05.02]
- [Protestor] Whose planet?

[00:31:06.01]
- [Protestors] Our planet!

[00:31:07.02]
- [Protestor] Extinction!

[00:31:08.04]
- [Protestors] Rebellion!

[00:31:09.05]
- [Protestor] Extinction!

[00:31:10.07]
- [Protestors] Rebellion!

[00:31:12.00]
[car horns honking]

[00:31:20.00]
[dramatic piano music]

[00:31:34.02]
[indistinct chatter]

[00:31:39.07]
[piano music continues]

[00:31:53.04]
[muffled instrumental music]

[00:32:02.09]
[crowd exclaiming and cheering]

[00:32:18.09]
- [Speaker] So let's take a moment...

[00:32:20.03]
- [Crowd] Let's take a moment...

[00:32:22.05]
- [Speaker] ...to consider why we're here.

[00:32:24.01]
- [Crowd] ...to consider why we're here.

[00:32:26.07]
- [Speaker] Let's remember our love

[00:32:28.01]
for this beautiful planet.

[00:32:30.06]
- Very good.

[00:32:31.06]
- [Fiona] What is it?

[00:32:34.03]
- It's a hot cross--

[00:32:35.01]
a very large hot cross bun.

[00:32:37.00]
It had the X, the Extinction
Rebellion logo on it.

[00:32:40.02]
It's very clever, it's very nice.

[00:32:42.03]
[ping-pong ball bouncing]

[00:32:48.00]
[indistinct chatter]
[birds chirping]

[00:32:50.05]
[crowd cheering]
[muffled instrumental music]

[00:32:55.07]
- Hello everybody, and welcome
to the 5th day of occupation

[00:32:59.01]
in Oxford Circus!

[00:33:00.01]
[crowd cheering and applauding]

[00:33:05.09]
- Hello, fellow humans.

[00:33:07.07]
[crowd cheering]

[00:33:10.07]
Dear, dear, caring fellow
humans, who care about the planet

[00:33:15.03]
and care about children
and grandchildren and...

[00:33:19.01]
You don't have to have
children to care, though.

[00:33:21.02]
I need to make that very, very clear.

[00:33:25.00]
We're here in this
little island of sanity,

[00:33:29.01]
and it makes me so happy
to be able to join you all

[00:33:32.08]
and to add my voice to
the young people here

[00:33:37.04]
who have inspired a whole
new movement which we need.

[00:33:41.09]
And I bring great
greetings from Greenpeace,

[00:33:44.01]
from John Sauven,

[00:33:44.09]
who I spoke to this morning
as I was walking in.

[00:33:47.08]
And I've got a letter to read,

[00:33:51.09]
submitted to this glorious demo

[00:33:54.07]
by author and illustrator Jackie Morris.

[00:33:56.08]
And it's a letter to the Earth,

[00:33:59.02]
and it's called "Everything is connected."

[00:34:02.02]
So, I'm gonna read this.

[00:34:05.02]
"When I was young,

[00:34:06.07]
I would lie pressed to the
earth, eyes wide to the skies.

[00:34:12.06]
I would watch you, in your hundreds,

[00:34:15.05]
crisscross, hunt on the wing,
layers of birds.

[00:34:20.07]
Some so high, seen only as
dark commas against the blue.

[00:34:26.04]
Once, some believed you slept all winter

[00:34:29.09]
beneath the ice in ponds.

[00:34:32.08]
Once, some believed
that the Earth was flat.

[00:34:37.05]
Now, some believe climate
change is fiction."

[00:34:41.08]
♪ I love you, Earth ♪

[00:34:46.03]
♪ I love you, I love you ♪

[00:34:51.09]
- "Letters to the Earth" is a campaign

[00:34:54.00]
that supports the call
of Extinction Rebellion

[00:34:56.07]
to make the demands on governments
to take greater action.

[00:35:00.09]
Heather Ackroyd is going to tell you more

[00:35:03.03]
about Culture Declares Emergency

[00:35:05.03]
and a call to artists and
cultural organizations

[00:35:07.06]
to take part in this call to action.

[00:35:11.00]
- I'm Heather from Ackroyd
& Harvey, an artist.

[00:35:15.08]
On the 3rd of April, we launched
Culture Declares Emergency

[00:35:22.04]
to declare a climate and
ecological emergency.

[00:35:27.08]
We have no time,
we have barely a minute,

[00:35:31.01]
the seconds are ticking by.

[00:35:33.00]
We invite you creatives
from the cultural center

[00:35:37.01]
to join us in telling truth.

[00:35:41.09]
Thank you.

[00:35:42.09]
[applauding and cheering]

[00:35:48.08]
- Recently, governments--

[00:35:51.01]
In the UK, Extinction Rebellion

[00:35:53.05]
was deemed to be a terrorist organization,

[00:35:57.04]
an extreme group, but you
know, these are normal people,

[00:36:02.03]
total peaceful civil disobedience, so--

[00:36:05.08]
- [Heather] But it was retracted.

[00:36:06.08]
- [Dan] It was retracted.

[00:36:07.07]
- [Heather] It had to be retracted.

[00:36:08.05]
- [Dan] It had to be,
but at the same time...

[00:36:09.08]
- [Heather] But now the
full damage is done.

[00:36:10.06]
- [Dan] It's already done it's damage.

[00:36:12.09]
[drums playing]

[00:36:14.06]
♪ Extinction Rebellion ♪

[00:36:17.06]
♪ Extinction Rebellion ♪

[00:36:20.08]
♪ Extinction Rebellion ♪

[00:36:22.02]
[frenetic drumming]

[00:36:32.06]
[protestors cheering]

[00:36:46.03]
[helicopter blades whirring]

[00:36:48.06]
- Risking, slash, being imprisoned

[00:36:53.03]
is no small thing,

[00:36:55.00]
and I think it shows the depth of people's

[00:36:59.09]
despair at the current lack of action

[00:37:01.04]
that people are willing to do that.

[00:37:03.02]
[indistinct chatter]
[gentle instrumental music]

[00:37:07.01]
[cheering]

[00:37:11.08]
[siren wailing]

[00:37:16.06]
- When we closed down Oxford
Street, really, to traffic,

[00:37:20.04]
so many people were really,
really actually enjoying

[00:37:26.01]
that atmosphere without the
cars, without the pollution,

[00:37:30.05]
and somehow it seemed like a new world.

[00:37:32.06]
They realized that actually the traffic

[00:37:34.03]
wasn't all gonna screw
up the rest of London.

[00:37:36.03]
It all managed to work,

[00:37:38.00]
people started walking to work and things.

[00:37:40.01]
[gentle instrumental music]

[00:37:47.00]
The seeming success that that
had in the way it actually--

[00:37:51.06]
There was a fundamental
shift within the way,

[00:37:54.07]
I think, climate change and
the ecological emergency

[00:37:58.05]
was actually being listened
to and being reported on

[00:38:01.03]
and the amount of people
who were actually starting

[00:38:04.07]
to think, "Well, shit,
they've got a point."

[00:38:07.07]
[gentle instrumental music]
[indistinct chatter]

[00:38:17.07]
- I think the reason
the April 2019 rebellion

[00:38:20.05]
was so unique and inspiring

[00:38:23.04]
was this sort of flowering of
creativity and possibility.

[00:38:27.05]
It wasn't just a kind of
"turn up, march, and go home."

[00:38:30.08]
It kind of felt like we had
taken over the city, you know,

[00:38:33.09]
with trees on the bridge and
just hanging out with people.

[00:38:36.03]
It was both a powerful political statement

[00:38:39.05]
and a really enjoyable experience.

[00:38:41.03]
[chuckling]

[00:38:42.08]
[indistinct chatter]

[00:38:50.07]
- Although there was a
huge, sort of, swelling,

[00:38:53.06]
a ground-swell of people involved,

[00:38:55.08]
I think the political
will just was not there.

[00:38:59.06]
- That rebellion and XR more generally was

[00:39:01.05]
what really properly got me
involved in climate activism,

[00:39:06.01]
and that is why I'm now
doing climate activism

[00:39:08.05]
in the legal profession.

[00:39:09.04]
I probably wouldn't be doing
that had it not been for XR.

[00:39:12.05]
I think that's quite a
common experience, as well.

[00:39:14.04]
I think there's quite a lot of people

[00:39:16.02]
and groups that formed from that.

[00:39:18.00]
So if you just say, "Oh,
what did XR itself achieve?",

[00:39:20.07]
it's easy to say, "Oh, it
didn't achieve very much,"

[00:39:22.07]
but actually if you look at
all of the different groups

[00:39:26.02]
and activism that it spawned

[00:39:27.05]
I think its influence has been massive.

[00:39:31.05]
[bus engine rumbling]

[00:39:35.02]
- So here we are in the City of London,

[00:39:37.06]
and this is the relatively
newly opened Bloomberg Building.

[00:39:41.00]
So, we're putting together
a temporary installation.

[00:39:44.07]
It'll be there for about two months.

[00:39:46.03]
So, yeah, we need to get 52 trees out.

[00:39:49.04]
[gentle acoustic guitar music]

[00:40:13.00]
[indistinct conversation]

[00:40:18.06]
- How many have you--

[00:40:19.04]
So there's 52 here, and
how many have you got?

[00:40:21.05]
You've got about 100 or so?

[00:40:22.04]
- We've got about, I think,
just under 200 surviving trees.

[00:40:26.04]
- Okay, and these--

[00:40:27.03]
And so these are 11 years old?

[00:40:28.09]
They are all 11 years?
- Twelve, 12 years old.

[00:40:30.03]
- They're all 12 years old.

[00:40:31.04]
- Yeah.

[00:40:34.04]
- Them taking up the
legacy of Joseph Beuys,

[00:40:36.04]
with these wonderful trees
with "Beuys' Acorns,"

[00:40:39.07]
is again so appropriate.

[00:40:41.00]
This is on the very day

[00:40:42.04]
that Tate have declared
a climate emergency,

[00:40:44.07]
that Extinction Rebellion
are making demonstrations

[00:40:48.03]
within the city, and these
are all interconnected.

[00:40:50.04]
Art and artists are leading this cry

[00:40:53.07]
of declaring that it
is a climate emergency.

[00:40:57.01]
[soft whistling]

[00:41:00.01]
[thunder rumbling]

[00:41:09.03]
[sirens wailing]

[00:41:18.05]
[birds chirping]

[00:41:21.01]
[dissonant instrumental music]
[soft whistling]

[00:41:29.04]
- I think now with COVID-19,

[00:41:32.05]
suddenly everything is possible.

[00:41:34.06]
We can do this, we can do that,

[00:41:36.03]
we can shut down the airports, we can...

[00:41:38.06]
And, I don't think

[00:41:40.06]
anything is gonna be
normal again, actually.

[00:41:42.09]
[dissonant instrumental music]

[00:41:51.03]
- I think we have to ask ourselves

[00:41:52.07]
profoundly difficult questions.

[00:41:55.09]
Should we even be making art
as we have been making art

[00:41:59.06]
in the last 30, 40 years?

[00:42:02.03]
And what is more important?

[00:42:04.09]
Where will we find most meaning

[00:42:09.03]
and most presence in doing what we do?

[00:42:15.00]
[dissonant instrumental music]

[00:42:46.00]
[birds chirping]

[00:42:48.07]
[gate rattling]
[gentle instrumental music]

[00:42:56.01]
[birds chirping]

[00:42:59.01]
This has been my solace.

[00:43:01.01]
I mean, this has been my sanctuary

[00:43:02.05]
and my, you know, little spell place.

[00:43:07.02]
Yeah, it's really special.

[00:43:08.08]
Coronavirus, MERS more recently, you know,

[00:43:13.04]
swine flu, bird flu, avian flu, Ebola,

[00:43:17.07]
they've all been held just about in check.

[00:43:19.03]
This one got out.

[00:43:21.03]
I think it was the
Harvard Business School,

[00:43:24.09]
two academics wrote a book
in 2003 saying, you know,

[00:43:28.08]
"Are we were prepared for disasters?"

[00:43:32.00]
The answer is no.

[00:43:33.04]
- Heather and I,

[00:43:34.02]
we've have been working
together for 30 years,

[00:43:36.03]
and I think some of the problem
with lockdown for couples

[00:43:40.01]
is that actually they've never
spent so much time together.

[00:43:43.02]
And I think for us now,

[00:43:45.05]
we've actually never
spent so much time apart.

[00:43:47.08]
So, I've actually found it, at first,

[00:43:52.02]
really quite refreshing to
have that time and that space

[00:43:57.05]
and to feel that there weren't 350 things

[00:44:01.03]
that you should have been doing

[00:44:02.06]
and 50 of those that you
should have already done

[00:44:04.09]
and that constant running.

[00:44:06.03]
- I think we've both been
carrying so many stresses

[00:44:11.02]
around the big stuff that's happening,

[00:44:13.06]
around the world that we'reliving in.

[00:44:15.08]
And you know, that is with us
as we come back into our home,

[00:44:20.06]
as we go to bed, as we wake up,

[00:44:23.01]
as we're cleaning our teeth,
watching TV, you know,

[00:44:25.06]
opening an email because
somebody's eight hours behind

[00:44:29.01]
and we've got to answer an email.

[00:44:31.05]
There's been no space

[00:44:34.09]
or either of us to actually...be.

[00:44:40.07]
I've reached a threshold moment.

[00:44:42.06]
I've really reached a threshold moment.

[00:44:44.00]
I think Dan has, as well.

[00:44:45.09]
I mean, we really are saying,

[00:44:50.01]
"Where does our artistic
relationship work now,

[00:44:53.08]
how does that work,

[00:44:55.01]
and where does our personal
relationship really work

[00:44:57.01]
within that as well?"

[00:44:59.06]
- From the get-go, like, I
was never gonna take sides.

[00:45:02.01]
I love them both, right?

[00:45:03.03]
I mean, I don't know how they could work

[00:45:05.01]
and be in a relationship anyway.

[00:45:07.06]
I couldn't do that,
d'you know what I mean?

[00:45:08.07]
Like, working 30 years.

[00:45:10.00]
No way, like, there's
no way I could do that.

[00:45:11.06]
I feel like separation, or communication--

[00:45:15.05]
Communication's so key, right?

[00:45:16.09]
And I think that was where a lot of things

[00:45:20.00]
went missing down the line.

[00:45:21.00]
You know, work's just--

[00:45:21.09]
I mean I just personally could
never work with my partner.

[00:45:23.06]
I couldn't, couldn't do it,

[00:45:24.09]
not at the level that they do,
like it's joint, right?

[00:45:27.05]
- I mean, you know, Heather and Dan,

[00:45:28.09]
I was best woman at their wedding.

[00:45:31.05]
And Cilla was the other
one, and that was it.

[00:45:33.08]
Then Adele came, and we
were the only witnesses.

[00:45:38.05]
And then it didn't last very
long after that, you know?

[00:45:40.08]
I think it's really hard being
in a duo anyway, making work,

[00:45:45.05]
because, you know, people,

[00:45:47.07]
they grow emotionally at different rates,

[00:45:50.00]
you know, one goes up, the
other's going like this.

[00:45:53.02]
And yeah, and you really need
to have all hands on deck.

[00:45:57.05]
And I don't know, it must
be incredibly difficult

[00:45:59.04]
for Heather and Dan now that
they've split up, you know?

[00:46:01.04]
[birds chirping]

[00:46:03.00]
- Everybody's in crisis.
[Heather chuckling]

[00:46:06.09]
Actually, it's not like we're in crisis

[00:46:09.03]
and everybody's going round in normal,

[00:46:10.09]
it's like it's relative,
we're all in this place.

[00:46:17.00]
I feel it because I felt so exposed,

[00:46:22.02]
but I...

[00:46:27.02]
You know, I really take that...

[00:46:30.05]
I'm taking every day of this
with gratitude, absolutely.

[00:46:34.06]
You know, look, this is on my back door.

[00:46:38.00]
How fortunate.

[00:46:39.06]
How fortunate.

[00:46:41.00]
[solemn instrumental music]

[00:46:46.04]
[birds chirping]

[00:46:49.07]
- Fallen.

[00:46:50.05]
- You almost can't work out
the difference now between...

[00:46:54.02]
- Oh, this one's going
silvery-gray, isn't it?

[00:46:59.09]
- Now, go on.

[00:47:05.04]
"Felled by Storm Eunice."

[00:47:10.01]
- [Dan] It's funny, you get
the feeling that they're--

[00:47:12.05]
They look much smaller, don't they?

[00:47:14.09]
- So, quite a lot of insects
are gonna be happy with this,

[00:47:17.07]
I think.

[00:47:20.03]
Oh, my goodness

[00:47:22.01]
I don't know, I mean, it's...

[00:47:26.06]
To actually recreate the
artwork from the beginning

[00:47:30.06]
would involve identifying
two ash trees in the woods

[00:47:34.09]
that are afflicted with
the disease, felling them.

[00:47:38.01]
I mean, the whole process
was really complicated.

[00:47:41.03]
[solemn instrumental music]

[00:48:01.02]
[birds chirping]

[00:48:04.03]
- I think it's, you know,

[00:48:05.06]
it was never going to be
a 100% permanent piece.

[00:48:11.02]
It would've been nice if it
stood up for longer but it's...

[00:48:16.03]
I don't know.

[00:48:18.08]
I find it quite interesting
just the way nature, it has...

[00:48:24.00]
You know, it will rot at some point,

[00:48:26.02]
it would've always rotted at some point.

[00:48:28.03]
It was taken down by the storm,

[00:48:30.00]
but that's part of the reality
of where we are at, isn't it?

[00:48:32.09]
- Yeah.

[00:48:33.07]
You know, and also, Storm Eunice

[00:48:36.06]
and the little bit of research we've done

[00:48:40.05]
into Eunice Newton Foote,

[00:48:42.06]
who was a scientist who delivered a paper

[00:48:46.09]
for the American Advancement
of Science in 1856--

[00:48:52.05]
I'll just repeat that, 1856--

[00:48:55.04]
where she showed that
actually if you increase the

[00:48:58.05]
amount of carbon dioxide
in the atmosphere,

[00:49:00.02]
it was going to bring
on temperature change.

[00:49:02.03]
So, she was already presenting a paper

[00:49:04.09]
discussing the greenhouse effect.

[00:49:06.03]
[idyllic instrumental music]

[00:49:18.09]
[birds chirping]

[00:49:23.01]
[idyllic instrumental music]

[00:49:34.02]
And in the meanwhile,

[00:49:35.00]
Dan and I were shortlisted
for, you know, a commission

[00:49:38.03]
on this very remote
former whaling station,

[00:49:41.07]
South Georgia Island.

[00:49:43.04]
So, you know, we've had a
project to keep us occupied

[00:49:47.09]
whilst he's been in isolation.

[00:49:50.00]
- From a 150 people, we were shortlisted

[00:49:52.00]
down to three artists

[00:49:53.07]
for a project with a very healthy budget,

[00:49:56.04]
although that's shifting a
little bit, but that way--

[00:50:02.04]
The island's 2,000 miles,

[00:50:03.09]
I think, from the Falkland Islands.

[00:50:05.04]
It's down near Antarctica.

[00:50:07.02]
Should we as responsible artists,

[00:50:09.03]
knowing what we know, be proposing
a sculpture for an island

[00:50:13.09]
that, actually, the tourists
it gets are on cruise liners?

[00:50:18.03]
- I'm struggling with
putting in a big artwork

[00:50:22.06]
in this really remote part of the world,

[00:50:25.03]
which will only be seen
by people who can travel,

[00:50:29.09]
you know, on these cruise ships, you know.

[00:50:32.01]
And a lot of these people are fascinated

[00:50:33.09]
with the conservation,

[00:50:34.08]
and there's a wealth of really
exquisite conservation there.

[00:50:38.05]
- Our love and our respect for whales,

[00:50:41.00]
and this place is in a--

[00:50:42.03]
It's an old whaling station

[00:50:44.05]
that has been closed from the '50s.

[00:50:46.08]
And they specifically want a piece of work

[00:50:48.09]
on the flensing plan, which
was this huge wooden area

[00:50:52.05]
where they would drag
the whale carcasses out

[00:50:54.06]
of the water, flense them,
the blubber would go one way,

[00:50:58.07]
the meat would go another way,

[00:51:00.01]
the bones would go to the glue cookery.

[00:51:02.08]
I mean, it was a place where

[00:51:03.09]
thousands and thousands of
whales were slaughtered.

[00:51:07.05]
[rumbling ambient tones]
[whales vocalizing]

[00:51:17.05]
- We have "Stranded,"

[00:51:18.06]
which is an artwork that
we actually first exhibited

[00:51:21.07]
at the Natural History Museum in 2006.

[00:51:24.05]
So, that has been invited
to be shown in a group show

[00:51:28.05]
under the title "Green Currents" in Paris.

[00:51:31.06]
Or "Courant Vert," forgive
my French. [chuckling]

[00:51:34.04]
And we haven't seen this
sculpture since 2016.

[00:51:38.02]
[idyllic instrumental music]

[00:51:54.01]
Oh, there, just jumped.

[00:51:56.01]
Whale!

[00:51:58.05]
- [Dan] Ehm, what creature's that?

[00:52:01.03]
- [Heather] What's that?

[00:52:02.01]
- [Dan] The droppings.

[00:52:03.04]
[idyllic instrumental music]

[00:52:07.09]
[drill whirring]

[00:52:12.04]
- And there's no mold over the bone,

[00:52:14.03]
there's no discoloration of the crystal.

[00:52:16.00]
- No.

[00:52:17.01]
- So, that in itself is good.

[00:52:18.09]
- Yeah.

[00:52:21.02]
This whale had been
dead for about a month,

[00:52:25.01]
and had been seen in different locations.

[00:52:27.02]
- [Bystander] Yeah.

[00:52:28.00]
- We've lost some of the
fin, which is unfortunate.

[00:52:30.07]
So, you know, when we got there,

[00:52:32.06]
there was no point in doing
an autopsy on it or anything.

[00:52:35.08]
They made us take some
measurements and things of it.

[00:52:40.02]
I would say that was 19 foot, 6 inches.

[00:52:43.08]
It's a juvenile minke
whale, not sure why it died.

[00:52:47.03]
We didn't find plastic in its stomach.

[00:52:49.09]
Found a lot of other smelly
stuff in its stomach, but.

[00:52:52.03]
And so we were, what,
three days on the beach,

[00:52:56.00]
taking the bones out.

[00:52:57.02]
And then about two months
cleaning the whole skeleton,

[00:53:01.00]
de-greasing it,
getting all the flesh off it,

[00:53:04.07]
and then the crystallization process.

[00:53:07.05]
Looks pretty good.

[00:53:12.04]
[water boiling]

[00:53:14.08]
[crystals scraping]

[00:53:21.00]
[liquid bubbling]

[00:53:26.08]
[muffled chatter]

[00:53:29.09]
- You know, it's never particularly easy,

[00:53:32.01]
and certainly not satisfying to see

[00:53:35.00]
the piece in this process of change

[00:53:38.03]
or slow degradation.
- Transition.

[00:53:40.01]
Its innate transition.
- Transition.

[00:53:42.00]
- Which, I think...
[crosstalk]

[00:53:43.03]
- Well, there is a level of degradation.

[00:53:45.00]
- None of us stay looking
beautiful forever.

[00:53:46.07]
[chuckling]

[00:53:48.01]
So, you know, I think it's
the nature of the piece,

[00:53:51.02]
and perhaps it will
transform into something else

[00:53:53.09]
in time to come.

[00:53:54.07]
- [Heather] We don't do
permanent, you know...

[00:53:58.06]
We are always looking
at that kind of edge of

[00:54:01.00]
you know, between
vulnerability, fragility,

[00:54:04.04]
transition, transformation.

[00:54:06.04]
- A lot of our work is actually
compostable and organic

[00:54:09.03]
and actually goes back into
the ground, so, you know...

[00:54:14.05]
A lot of the time we don't
make saleable things,

[00:54:18.02]
which is a little bit of
an odd situation to be in,

[00:54:21.04]
and sometimes we'd prefer that
we did, I think, financially.

[00:54:26.02]
But, I suppose that's why we make work.

[00:54:30.02]
It's about the interest of materials

[00:54:31.09]
and what happens to materials,
and natural processes.

[00:54:35.09]
- I think with Dan and Heather,

[00:54:37.08]
I don't wanna, you know, cast opinions

[00:54:40.04]
about their personal relationship.

[00:54:41.09]
I mean obviously I'm very sad
they've parted as a couple,

[00:54:44.09]
and they have, you know,
lovely Adele together

[00:54:47.00]
and that their life is continuing
in separate directions.

[00:54:50.04]
But they seem to be able to
continue to work together,

[00:54:54.00]
which I think is wonderful.

[00:54:55.05]
[solemn string music]

[00:55:03.01]
- We were pulled together

[00:55:05.03]
because we're part of the
writers and artists' arm

[00:55:08.07]
of Extinction Rebellion.

[00:55:10.02]
It may be the most important
moment in human history

[00:55:14.07]
for turning around this great ship

[00:55:17.09]
of our folly and our foolishness

[00:55:21.09]
and our almost suicidal
reckless disregard for nature.

[00:55:27.07]
It's either extinction

[00:55:29.02]
or we become a newer, more
efficient, more loving species.

[00:55:34.05]
Our love must save the world,
for love is the last power

[00:55:40.05]
that stands between us and extinction.

[00:55:44.00]
[somber string music]

[00:55:46.00]
We as artists just have to find a way

[00:55:47.04]
to speak to the great love
that every human being,

[00:55:51.01]
whether they're aware of it
or not, has for this planet,

[00:55:54.08]
has for the air that we breathe

[00:55:56.02]
and for the earth that we stand on,

[00:55:58.02]
for the fruit, for the
sunlight that we receive.

[00:56:02.07]
- As an economist once said,

[00:56:05.04]
"There is only one true
economy on our planet,

[00:56:09.08]
and that is photosynthesis."

[00:56:11.07]
And photosynthesis takes light

[00:56:15.00]
and it converts it to life,
and it nourishes us all.

[00:56:19.09]
- I'm a huge believer in the power of art.

[00:56:25.01]
Whilst we are here right now,

[00:56:27.09]
art is such a fucking threat

[00:56:30.02]
that the Met Police have raided

[00:56:31.07]
the Extinction Rebellion Art Factory.

[00:56:34.07]
At its very essence, for me,

[00:56:39.06]
art is the soul of humanity.

[00:56:43.01]
- We are part of nature,

[00:56:45.03]
and we need to learn to love that.

[00:56:46.08]
[audience applauding]

[00:56:47.07]
- It goes completely without saying

[00:56:49.03]
that art galleries and museums

[00:56:51.09]
should have the climate
crisis as part of their remit,

[00:56:56.02]
because otherwise it's a
complete failure of imagination.

[00:56:58.07]
If you're more interested
in aesthetics [chuckling]

[00:57:02.04]
than the survival of human life,

[00:57:03.09]
then I think you've completely--

[00:57:06.02]
I mean, you are like
the ostrich in the story

[00:57:09.09]
with your head buried deep down

[00:57:12.06]
into the increasingly dying earth.

[00:57:15.05]
[Dan speaking in Italian]

[00:57:23.05]
[ape engine rumbling]

[00:57:26.07]
- And I think their works and their job

[00:57:29.06]
is just special itself,
you know, it's stunning.

[00:57:32.09]
So, the emotion that you feel

[00:57:37.07]
when you see them,

[00:57:39.00]
when you see their works,
I think they're just special.

[00:57:42.07]
It's like magic, yeah.

[00:57:45.02]
- [Fiona] And are you proud of him?

[00:57:46.02]
- I'm very proud, I'm very proud.

[00:57:48.09]
He's the best dad.
[Dan chuckling]

[00:57:50.05]
- Thank you.

[00:57:51.03]
- I really love him, and...

[00:57:52.07]
[birds chirping]

[00:57:58.02]
[Dan conversing in Italian]

[00:58:06.09]
- I enter a very particular
time, I think, for me.

[00:58:10.06]
My mother died two weeks ago.

[00:58:12.04]
And then I've just been over in Veneto

[00:58:16.02]
where my older daughter
and two grandchildren live,

[00:58:18.06]
and they're going through a
phase of separation, and things.

[00:58:22.09]
And then the situation
between Heather and I,

[00:58:25.08]
I mean, we still work very well together

[00:58:28.05]
but there's a lot of tensions there too.

[00:58:31.08]
So yeah, it's a bit of an
odd time all round, really.

[00:58:34.04]
[chuckling]

[00:58:35.04]
- [Fiona] And you've had health issues?

[00:58:37.06]
- Yeah, yeah, I've--

[00:58:39.02]
That's something I'm a
little concerned about too,

[00:58:42.06]
but then everything has
been caught nice and early

[00:58:45.03]
and the treatment seems to have gone well.

[00:58:47.01]
So, in the end, you can't
worry about that too much.

[00:58:50.09]
I mean, obviously, I need
to look after meself.

[00:58:53.07]
That's a hard one to learn,
but I think I'm getting there.

[00:58:57.00]
[evocative string music]

[00:59:09.05]
- You know, I've always been
aware that my parents, well,

[00:59:14.02]
their work has to align with
their morals and their ethics,

[00:59:17.01]
and that's been something
that I've always looked up to

[00:59:18.06]
'cause they won't take certain jobs

[00:59:21.01]
or certain awards or certain commissions

[00:59:22.07]
because they're not in
line with their kind of,

[00:59:25.01]
like, moral ethics and
their outview on life.

[00:59:28.02]
Financially, it's huge, right?

[00:59:29.05]
Especially because there's
some corporations out there

[00:59:31.06]
who will pay huge amounts of sums,

[00:59:32.09]
but if you look back to where
the money is coming from

[00:59:34.09]
and all these sort of
things, it's negative, right?

[00:59:36.05]
And so I definitely recognize

[00:59:38.00]
that at some points in my life

[00:59:39.04]
my parents probably could
have been very, very wealthy.

[00:59:42.02]
- I think we've always, sort of, kept true

[00:59:44.04]
to the spirit of ourselves somehow,

[00:59:47.07]
and we have been approached
for doing a lot of things

[00:59:51.08]
that could have made us some money.

[00:59:53.03]
BMW with their green Mini

[00:59:55.00]
wanted us to do a
photosynthesis photograph of it.

[00:59:58.01]
And when you look at the car

[00:59:59.04]
it's not really a green car at all,

[01:00:02.00]
so it just didn't seem right
to do things like that.

[01:00:05.02]
Monsanto, we had a letter
from an advertising company

[01:00:08.04]
wanting us to do the portraits

[01:00:09.08]
of the Monsanto directors
in photosynthesis.

[01:00:13.03]
Please.

[01:00:14.03]
- They would quickly lose credibility

[01:00:16.01]
if they were, like, green guns-for-hire

[01:00:18.02]
for anybody who wanted to kind
of perk up their eco-image,

[01:00:21.00]
get yourself done in
Ackroyd and Harvey grass

[01:00:23.02]
or get them to do some kind of
crystal project or whatever.

[01:00:26.05]
It would be ruination for them.

[01:00:28.06]
And I mean, credibility is
a bit like your virginity.

[01:00:30.06]
You can't get it back again
once you've lost it, you know?

[01:00:32.07]
And I think it's very problematic.

[01:00:35.01]
Not that I'm advocating
virginity, by the way,

[01:00:36.07]
but-- [chuckling]

[01:00:37.06]
I'm just saying that it is something

[01:00:39.00]
that you have to be very
careful to guard as an artist.

[01:00:42.07]
- I wanna breathe like you.

[01:00:45.04]
These streets are mine, too.

[01:00:47.07]
Rich businessmen not paying fines

[01:00:49.04]
for breaking environmental laws,

[01:00:50.08]
but it's the black and the poor

[01:00:52.01]
that have to pay with their lives.

[01:00:53.06]
When clean air is a luxury,

[01:00:55.06]
death is the price for
those who can't afford it.

[01:00:58.06]
- Two weeks ago there was the anniversary,

[01:01:01.07]
the 10th year that the nine--

[01:01:04.00]
beautiful nine-year-old Ella
Adoo-Kissi-Debrah passed away.

[01:01:09.01]
And the report was that actually
it was because her lungs

[01:01:14.02]
were so adversely and badly affected

[01:01:17.02]
by the pollutants that
she was breathing in,

[01:01:19.04]
that it was the first certified
death due to road pollution.

[01:01:24.02]
- You hear her story and you're thinking

[01:01:25.04]
a young schoolgirl died because
of air pollution and asthma,

[01:01:29.09]
and you're like, "Whoa,
that's actually..."

[01:01:31.01]
And then you read and it's,

[01:01:32.02]
like, that's really local,
that could have been...

[01:01:34.02]
You know, it could have been my sister,

[01:01:35.02]
it could have been my cousin,
and that's when it hits home.

[01:01:38.02]
♪ HGV 6 axles, 44 tons ♪

[01:01:40.04]
♪ Two inches and 54 foot on top of that ♪

[01:01:42.06]
♪ As it circles around our south ♪

[01:01:44.00]
♪ Happily chugging ♪

[01:01:44.09]
♪ and leaving our children's lungs black ♪

[01:01:46.04]
♪ NO2 means something to me
but what does it mean to you ♪

[01:01:49.03]
♪ Or do you not care ♪

[01:01:50.05]
♪ Because you think you're in an area ♪

[01:01:51.09]
♪ That's for the well-to-do ♪

[01:01:54.03]
♪ Do we really care? ♪

[01:01:55.06]
♪ Yeah! ♪

[01:01:56.05]
♪ Do we really care? ♪

[01:01:57.07]
♪ Yeah! ♪

[01:01:58.05]
♪ Do we really care? ♪

[01:01:59.09]
♪ Yeah! ♪

[01:02:00.07]
♪ Do we really care? ♪

[01:02:01.07]
♪ Yeah! ♪

[01:02:02.06]
♪ Do we really care? ♪

[01:02:03.09]
♪ Yeah! ♪

[01:02:04.07]
♪ Do we really care? ♪

[01:02:05.07]
♪ 'Cause we'll fight for our air ♪

[01:02:09.03]
♪ Yeah! ♪

[01:02:10.04]
- The piece of work that we're doing

[01:02:12.01]
is for the Hayward Exhibition.

[01:02:14.03]
- [Love Ssega] Yeah.

[01:02:15.01]
- And it's curated, titled "Dear Earth,

[01:02:19.03]
Art and Hope in a Time of Crisis."

[01:02:22.03]
So, we'll be going out in a short while

[01:02:25.04]
to do some photographs...

[01:02:26.07]
- [Love Ssega] Yeah, yeah.
- ...on a busy road,

[01:02:28.08]
and hopefully, not, you know,
stopping drivers too much.

[01:02:33.09]
- Like, I mean, this is a classic example.

[01:02:35.04]
So, you know, this is a
independent secondary school.

[01:02:38.05]
But then...

[01:02:41.08]
...you've got this coming
'round this tiny little corner!

[01:02:43.09]
[truck engine rumbling]

[01:02:45.01]
And then you've got little
kids at this height.

[01:02:47.01]
- Yes, yeah.

[01:02:47.09]
- [Love Ssega] So for me,
I can walk here,

[01:02:49.01]
walk to the train station...

[01:02:50.05]
- [Heather] Yeah.
- ...but all this traffic

[01:02:51.06]
has got nothing--

[01:02:52.08]
All this commerce has
nothing to do with Lewisham.

[01:02:55.04]
- [Dan] Right.

[01:02:56.09]
[traffic noise]

[01:03:00.03]
[camera clicking]

[01:03:04.02]
- Oh, yeah.

[01:03:05.04]
Yeah.

[01:03:07.07]
- I think their large
photosynthesis portrait pieces

[01:03:11.07]
are a very lovely way of
celebrating other individuals,

[01:03:16.05]
individuals from across
very different spectrums.

[01:03:18.06]
They celebrated all
different kinds of people

[01:03:20.08]
from different walks of life.

[01:03:21.08]
Some of them are eco-activists,

[01:03:23.06]
some of them are indigenous people.

[01:03:25.07]
I mean, a whole range of
different faces and forms.

[01:03:32.02]
- I think they got in touch with me

[01:03:33.08]
seeing my campaign about rights of nature

[01:03:35.05]
and climate activism in
the legal profession.

[01:03:37.02]
I was very honored and
touched, quite intrigued.

[01:03:41.00]
I'd never heard of that kind of project

[01:03:42.09]
to, you know, be effectively photographed

[01:03:45.07]
or painted in grass almost.

[01:03:48.05]
But yeah, I was very intrigued by it,

[01:03:50.01]
and the end result was really,
also really beautiful and...

[01:03:57.01]
Yeah, bigger than I was expecting as well.

[01:03:59.08]
It's massive. [laughing]

[01:04:01.07]
[gentle instrumental music]

[01:04:15.06]
- [Dan] Just putting the
slide in the projector.

[01:04:18.05]
- We have Love Ssega.

[01:04:20.01]
The next step really is,

[01:04:21.04]
now that we have sized-up the negatives,

[01:04:24.04]
is we're going to plant
the seed onto the canvases.

[01:04:31.09]
The five portraits from Dear Earth,

[01:04:34.09]
Soil, Seed, Air, and Water,

[01:04:37.05]
the activists there are--

[01:04:39.07]
You know, they are really,
really pushing forward,

[01:04:42.00]
and there are changes happening

[01:04:43.07]
directly as a result of that.

[01:04:46.03]
- For us, the collaboration there was...

[01:04:49.01]
It was very much about
their voice as well,

[01:04:51.06]
not just our work.

[01:04:53.00]
So whenever we did any press or anything,

[01:04:55.03]
then we invited them to be
present and to have a voice.

[01:04:58.02]
- Ooh, it's going to fall in your camera.

[01:04:59.06]
- [Cameraman] That's alright.

[01:05:01.06]
- [Heather] Extra is in.

[01:05:04.01]
There you go.

[01:05:05.03]
- [Love Ssega] Wow.

[01:05:06.09]
Wow!

[01:05:08.05]
- [Heather] This is our temporary
dark room, growing room.

[01:05:12.05]
- [Love Ssega] Well it's
not bad, is it? [chuckling]

[01:05:14.05]
- [Heather] I'll tell you,

[01:05:15.03]
this is one of, probably
the best space we've had.

[01:05:17.04]
- [Love Ssega] Yeah.

[01:05:18.03]
Oh, it's a wonderful group to be part of.

[01:05:21.01]
- [Heather] But we'll show you what--

[01:05:21.09]
- [Dan] This just diffuses

[01:05:23.07]
and takes away the projected negative,

[01:05:26.03]
that you'll see it going into positive.

[01:05:31.03]
[Love Ssega laughing]

[01:05:34.02]
- [Love Ssega] That is...

[01:05:35.00]
Yeah, that's fantastic.

[01:05:36.03]
[Love Ssega laughing]

[01:05:38.09]
Thank you, both!

[01:05:40.03]
[indistinct crosstalk]

[01:05:41.09]
- [Fiona] Bet you've never
seen your face in grass before.

[01:05:43.04]
- [Love Ssega] I have never.

[01:05:45.00]
I have never.

[01:05:46.06]
[all laughing]

[01:05:48.05]
- [Heather] It's a bit
of witchcraft in here.

[01:05:50.03]
- [Dan] Love Ssega's in the grass.

[01:05:51.06]
- [Love Ssega] Yeah, yeah. [laughing]

[01:05:53.09]
That's another article.
[laughing and crosstalk]

[01:05:57.00]
- It's all about art
history and portraiture,

[01:05:59.06]
but it's also a very
radical way of doing it

[01:06:02.00]
because of course these images only endure

[01:06:04.02]
in photographic records.

[01:06:05.09]
Which are great, but
they're not the same thing.

[01:06:08.00]
[evocative instrumental music]

[01:06:19.07]
[indistinct conversation]

[01:06:35.05]
- It's chlorophyll. [laughing]

[01:06:36.07]
And we just--

[01:06:38.04]
I mean, yeah, we really had
to finesse, finesse, finesse.

[01:06:46.05]
- It is a funny moment in
time really, on a level,

[01:06:50.06]
because I think after 33 years
of collaborating together

[01:06:55.01]
it's almost as if our
work has come of age now,

[01:06:58.00]
where we're being accepted

[01:06:59.03]
into some of the larger galleries,

[01:07:01.00]
invited to Biennales and things.

[01:07:03.03]
And yet, we're at a point

[01:07:06.00]
where I think where we're
both sort of thinking

[01:07:08.01]
about moving in slightly
different directions.

[01:07:14.04]
[wistful instrumental music]

[01:07:20.04]
You know, I think the works
that Heather wants to do,

[01:07:24.04]
I really appreciate them
and see the value of them.

[01:07:28.01]
But they've shifted from
the way we used to work

[01:07:31.00]
into something other,

[01:07:32.04]
that brings back her
performance and things--

[01:07:35.02]
- But it was there from
the very beginning.

[01:07:36.07]
- Yeah, but it's got
more intense, Heather.

[01:07:39.03]
- Yeah, but...

[01:07:40.01]
- It's been there from the beginning.

[01:07:41.00]
- If you look back at L'Altro Lato,

[01:07:42.09]
that was very performance-based.

[01:07:44.07]
- Yes.

[01:07:45.05]
- Most of our work has been
quite performance-based.

[01:07:48.04]
[discordant ambient music]

[01:08:00.05]
But I think the reality is,

[01:08:02.09]
we want to work in different ways...

[01:08:04.08]
- Yes, yeah, there we are.
- ...going forward.

[01:08:06.03]
And I think...

[01:08:07.01]
- That's what I've been saying, Heather.

[01:08:08.05]
- To pull ap-

[01:08:09.03]
I mean, I...

[01:08:11.01]
How do you, how do you...

[01:08:13.06]
I really want to step
away from resentment,

[01:08:16.01]
I want to step away from anger,

[01:08:17.09]
I want to step away from hurt,

[01:08:19.05]
I want to step away from betrayal.

[01:08:21.06]
You know, it's three years
since we went into crisis, Dan,

[01:08:24.09]
because there were issues
of trust happening.

[01:08:29.07]
- Heather, yeah, I think though...

[01:08:33.03]
I mean, we've been over
this so many times, and...

[01:08:38.04]
- But I'm moving forward.
- Right, I know,

[01:08:40.05]
I hope you are.
- Yeah.

[01:08:41.03]
- But it always comes back, and this...

[01:08:44.09]
- Issues of trust.

[01:08:45.08]
- Yeah, issues of trust, betrayal,

[01:08:48.07]
the whole language around it
is you're not stepping back,

[01:08:52.05]
you're reinforcing that
all the time, and--

[01:08:55.02]
- No, I said actually

[01:08:56.02]
I want to be away from those
elements and I really feel--

[01:08:59.02]
- But you're not.
- I am, Dan.

[01:09:00.09]
- You return to them
all the time, Heather.

[01:09:02.03]
- No, no, no, I don't.

[01:09:03.01]
- Which is why I'm not in the best--

[01:09:03.09]
- Because I have love in my life now,

[01:09:05.08]
and that shifts things, and
you have love in your life.

[01:09:08.02]
- Yes.

[01:09:09.00]
- And that shifts things,

[01:09:09.09]
that our love for each other has shifted.

[01:09:12.09]
- Yes, that's true.

[01:09:14.03]
- [Fiona] You took a long time to...

[01:09:16.06]
[Heather chuckling]

[01:09:17.04]
- To resurface.
[crosstalk]

[01:09:19.05]
Yeah. [chuckling]

[01:09:20.09]
- [Fiona] How did you achieve
that, a lot of stoppings?

[01:09:26.05]
- It was more through a recognition

[01:09:28.05]
that actually I needed
some intimacy in my life.

[01:09:32.04]
I wasn't looking for a relationship.

[01:09:34.06]
But, you know, I'm physical,

[01:09:37.01]
I enjoy physical relationships,

[01:09:39.02]
and I just thought, yeah, you know.

[01:09:41.08]
But also, companionship
without attachments.

[01:09:48.02]
But, you know, then you
meet someone and it's like,

[01:09:52.01]
"Oh, hang on a minute,
this is--" [chuckling]

[01:09:55.00]
Something happens which you're
not necessarily anticipating

[01:09:57.07]
or expecting, and you know,
there's a very strong--

[01:10:02.07]
Yeah, there's a hugely strong
emotional counterpart to it.

[01:10:06.06]
[relaxed instrumental music]

[01:10:24.03]
You know, Ackroyd & Harvey isn't--

[01:10:26.05]
It's not gonna go away,

[01:10:27.06]
it's just that it will
just have to evolve.

[01:10:30.08]
And you know, I mean, it's how we evolve

[01:10:33.03]
in a way that honors us both.

[01:10:37.07]
I mean, maybe we have this time

[01:10:40.09]
to go back to some wellspring,

[01:10:42.06]
back to whatever the font of our--

[01:10:44.08]
You know, to go back

[01:10:46.04]
and really address,
artistically, our needs.

[01:10:50.08]
And you know, Dan is an extraordinary

[01:10:54.08]
kind of alchemist of materials.

[01:10:59.07]
And, you know, he's just fantastic.

[01:11:02.03]
And I think to be able to
give each other that space

[01:11:07.02]
to follow just our natural
curve to some extent,

[01:11:12.00]
because I no longer--

[01:11:14.07]
You know, I want to fly again, you know?

[01:11:18.06]
I'm happy.

[01:11:19.09]
- No, I think we've both
been very, very lucky.

[01:11:23.07]
I feel lucky and I feel happy for Heather

[01:11:26.01]
with her relationship.

[01:11:28.05]
It's somebody who I respect as well,

[01:11:31.00]
so that makes it easier,

[01:11:33.01]
and I think you respect my partner.

[01:11:34.07]
- Mariana? Yeah, yeah.
- Yep.

[01:11:36.00]
So...

[01:11:36.08]
- [Fiona] So now it's
practical things, I imagine,

[01:11:38.07]
that would be the--

[01:11:39.05]
- Yeah, that's a little bit of
a nightmare to sort through.

[01:11:42.03]
- Should we have a drink? [laughing]

[01:11:44.01]
- Yeah, whiskey please.

[01:11:45.09]
[birds chirping]
[gentle instrumental music]

[01:12:15.05]
- They need irrigation.

[01:12:17.01]
- Yeah, the irrigation
hasn't been switched on yet.

[01:12:19.04]
- But they're mixed sizes,

[01:12:22.04]
just because some of them
have suffered various problems

[01:12:28.05]
over the years, but we've
tried to keep with them all.

[01:12:32.01]
[spade scraping]

[01:12:33.04]
- The Beuys oak trees, for
example, a hundred oaks,

[01:12:36.03]
that's a project they began in what, 2007?

[01:12:39.00]
Now, it's at a pivotal moment

[01:12:41.02]
where it's moving from something that's,

[01:12:44.04]
you know, a kind of
conversational piece, if you like,

[01:12:47.07]
to potentially a project that will help

[01:12:50.01]
regenerate our landscape.

[01:12:54.06]
You know, that's an amazing
story in itself, isn't it?

[01:12:57.00]
- 2007, caught a train, two
night stop-over in Kassel,

[01:13:03.02]
a German city where Joseph
Beuys initiated "7000 Oaks"

[01:13:07.09]
in 1982 for the 7th Documenta.

[01:13:11.06]
The trees were producing acorns.

[01:13:14.04]
We were hosted and shown around the trees,

[01:13:18.02]
collected as many as we could
get in the hand luggage,

[01:13:21.07]
brought them back,
started germinating them,

[01:13:24.02]
potted up all of the acorns,

[01:13:26.01]
and these are the surviving trees.

[01:13:28.07]
Joseph Beuys was an extraordinary artist,

[01:13:31.04]
and he sort of placed ecology education

[01:13:34.07]
on the same level playing field
as economics and politics.

[01:13:38.01]
In fact, he is one of the co-founders

[01:13:40.01]
of the German Green Party

[01:13:41.05]
who are now in coalition,
politically, in Germany.

[01:13:45.03]
And he was just absolutely clear

[01:13:48.03]
that if our biosphere is
polluted and poisonous,

[01:13:53.01]
then there would be huge suffering,

[01:13:55.04]
that the impact of that would be enormous.

[01:13:59.01]
[birds chirping]

[01:14:01.04]
- [Dan] Yes, let's get this one ready.

[01:14:03.01]
- I completely love them,
still umbilically attached.

[01:14:08.04]
- It's a bit like having children.

[01:14:09.06]
They're a labor, but of course
you love them. [chuckling]

[01:14:15.01]
From the tiny little pots that
they started in, to these.

[01:14:19.08]
They take more and more to
move them around, but...

[01:14:22.07]
Happy trees.

[01:14:24.03]
[birds chirping]

[01:14:26.01]
- [Heather] It's fantastic,
got loads of worms...

[01:14:27.02]
- [Dan] Loads of worms.

[01:14:28.00]
- ...which shows it's
really good healthy soil.

[01:14:29.08]
[Dan chuckling]

[01:14:33.00]
[birds chirping]

[01:14:36.09]
All right, let's go.

[01:14:38.01]
- Do you want to put it on here, Heather?

[01:14:39.01]
- [Fiona] I think that probably
will be their lasting legacy

[01:14:41.06]
when they've got all the Beuys' acorns.

[01:14:43.06]
- [Frances] Yeah, and dare I say,

[01:14:45.02]
there're two of them on
Tate Modern's landscape,

[01:14:47.02]
and I helped that happen.

[01:14:49.05]
Those trees will be there growing

[01:14:51.02]
long after I've been buried
for a long time, you know?

[01:14:55.02]
It's an amazing thing to
feel that one's been part of.

[01:14:59.01]
[birds chirping]

[01:15:02.01]
- I think, I mean, looking forward,

[01:15:03.08]
"hope" is one of those words, isn't it?

[01:15:06.05]
We hope that these trees
will survive for sure

[01:15:09.00]
and, you know, they have a
potential for living 800,

[01:15:12.00]
maybe 1,000 years, but it's
a matter of what happens

[01:15:14.06]
to the climate around them.

[01:15:16.05]
They're gonna help by what they do,

[01:15:19.04]
taking in CO2 and giving out oxygen,

[01:15:21.07]
but there're not many trees here.

[01:15:23.06]
It's a start then, and our
hearts are within them.

[01:15:27.04]
[gentle instrumental music]
[birds chirping]

[01:15:31.01]
It's an on-going project,

[01:15:32.01]
and why can't a tree be a work of art?

[01:15:34.05]
I mean, our grass is a work of art.

[01:15:37.01]
Living things can be works of art.

[01:15:39.00]
We could be works of art.

[01:15:40.07]
[Fiona chuckling]

[01:15:41.08]
- Well, you know, I mean...
[Fiona laughing]

[01:15:44.00]
[Dan speaking indistinctly]

[01:15:45.09]
[music continues]

[01:15:51.03]
[birds chirping]

[01:16:18.05]
[music continues]

[01:16:32.05]
[birds chirping]

[01:16:47.06]
[birds chirping]

[01:16:50.03]