WEBVTT NOTE This file was generated by Descript 00:00:00.640 --> 00:00:06.960 we meet here in the village of, so from behind me, a 00:00:06.960 --> 00:00:12.460 sculpture of my father that was made uh in the eighties. 00:00:13.190 --> 00:00:18.810 A shot in the other studio that he had in the that he had in the south and that looks like 00:00:18.810 --> 00:00:23.550 very much like the sculpture, but in a larger size. 00:00:23.550 --> 00:00:32.220 The sculpture that exists in uh at, at the metro station in Athens. 00:00:33.760 --> 00:00:37.350 So this village that we just walked through 00:00:40.880 --> 00:00:42.630 gives me a very good one. 00:00:42.630 --> 00:00:45.590 Finally a very good impression in the sense that it was. 00:00:46.120 --> 00:00:49.050 It has been preserved in a extraordinary way. 00:00:49.470 --> 00:00:51.710 we passed by the Roger Vailland's house. 00:00:51.720 --> 00:00:55.640 So the history of my father in relation to the in relation to the village is that he lived 00:00:55.640 --> 00:01:06.660 here between sixty and one sixty six and that through the will of 00:01:06.670 --> 00:01:11.660 Roger, who was more or less his mentor, who was an art critic and 00:01:11.710 --> 00:01:17.590 writer at the time and who had connections with the gallery of 00:01:17.590 --> 00:01:22.220 France and the Parisian galleries and who was a great admirer of my father. 00:01:23.160 --> 00:01:28.960 and who lent him in workshops and sessions one thousand nine hundred and sixty 00:01:28.960 --> 00:01:30.680 and one, sixty two sixty three. 00:01:31.640 --> 00:01:34.360 In these years, that it has started to do the great 00:01:34.360 --> 00:01:37.610 dimension, this is the workshop. 00:01:37.610 --> 00:01:41.680 We'll try to find it later, a little bit higher. 00:01:42.360 --> 00:01:46.110 I think I recognized it because I've been around the village a bit. 00:01:46.955 --> 00:01:48.324 at that time, but very little. 00:01:48.335 --> 00:01:50.634 I used to come from time to time I was a kid. 00:01:51.414 --> 00:02:01.574 So, I was very young and so, but there there was a lot of it 00:02:01.574 --> 00:02:09.465 where my father we traveled together by the way, and to list a little bit the 00:02:09.465 --> 00:02:12.755 my father's works, which are numerous. 00:02:14.105 --> 00:02:18.045 and so he worked especially with all the architects here, 00:02:18.045 --> 00:02:19.535 all the public works. 00:02:20.485 --> 00:02:24.755 Well, fortunately and unfortunately at the same time, we got some good ones 00:02:24.755 --> 00:02:26.095 and some bad surprises. 00:02:27.075 --> 00:02:33.575 We have noticed that there are works that have been very well preserved, with 00:02:33.575 --> 00:02:36.975 a lot of respect and others not. 00:02:38.405 --> 00:02:47.320 So this is what finally gives the idea that we need a solution 00:02:47.320 --> 00:02:55.130 with all the rights holders of the artists of the artists of that time, of that 00:02:55.130 --> 00:02:59.390 generation to start proceedings. 00:02:59.790 --> 00:03:02.100 try to find solutions for solutions for these works. 00:03:04.210 --> 00:03:08.850 We hope they are not lost, which have been moved in the meantime, 00:03:08.850 --> 00:03:14.210 is but have not been part, integrating new projects 00:03:14.690 --> 00:03:18.310 of rehabilitation of buildings.