 I'd like to present myself first. So I'm artist and cultural activist originating from Belgrade based in Berlin. I'd like to mention something about the context because I don't know how much you're familiar with the area I'm coming from and maybe particular in the context of the women labor struggle because the history of feminism in socialist countries is very different than here. So in the Yugoslavia was independent socialist country, not part of the Eastern Bloc, Russian, and not part of the Western Bloc, US. So something like India. In socialism, women had equal rights as men from the point of working rights, voting rights, and so on. Also like a free education, free medical and social care, and as well as retirement benefits helped a lot for women having equal rights as men. But of course, this was not given as such. The women's right movement started already with Rosa Luxemburg in Germany. So with the labor movement, the women labor movement is having basically heritage from that, in my opinion. So right now, situation is quite different because now the country doesn't exist anymore as such and there is a number of smaller countries and they are all going through the period of transition and with the entrance of the capitalism, it's getting, and the entrance introduction of religions, it's getting much more difficult for women. So basically, what is happening there is that sometimes you still had a patriarchal stuff happening in the families. So women were struggling, the women who were housewives were struggling much more than the women who were employed. And so basically now with the capitalism, the labor market rules are more difficult for everybody, so for women as well. And with the coming back of all kind of religions over there, it's also very difficult for women because of the patriarchal rules that the religions are bringing with them. As well comes of course, consumerism, women are big targets for that and so on and so on. My work in general is a lot focused to the very political issues and actually I actually took my women position and politicized it myself. And in different projects, I adopt different women roles in a way or particular roles in the society. I worked on two larger projects. One of them is a Crossing Border series and integration project, which the work I would, I have presented here in the show is a part of. So the Crossing Border series. In this project, I actually mainly focused on the issue of this migration population that is actually a population without equal political and economical rights. And if you are here, mainly American citizens, you are basically coming from the privileged group and you're having those popular passports and you might not have much in common with those issues or with those populations. And even though my project is particularly focused on the European Union and to the issues about elitism of this particular economical block, I think it's very translatable to the American context and it will be familiar to you, especially if you are open to what's happening with your neighbors or people you might meet on the street. Another larger project that I've been working on is called Strategies of Success and Curator series and I will not be presenting it here because the time is very short, but I would like to point that it is also a priori worked from the feminist position because it is analyzing, researching and targeting the position of power within the art system. And one can also translate it to other working contexts, but in particular, it's been always kind of male gaze to the art history and in the working condition, it's been a male dominated and so in those works, I was overtaking this position of a carrier of sexuality, so the female position and was basically using, so obstructing the situation and using those curators who are usually dominating the situation as a material of my work. Most of those works have been performances, realized as performances, but as well, they are later translated as videos, documentary videos or books. The project that I've presented here in this show is located just straight down at the kind of family part of the exhibition. I have to, I would like to underline that this is not just a family focused work, it's many folders, many layers work, it's a political and it deals with the issue of identity as well and this issue of family or marriage might be the most somehow familiar to you because it's maybe something that you are brought up with, like something so important or so secret that one shouldn't spoil or shouldn't play wrong with. So maybe you are familiar with websites such as russianbride.com or asianbride.com, they are equally popular in America as they are in Europe and you might know the aesthetics of the images of women that are advertised on those sites. So basically women there are not much dressed but they are never naked and they are always having some hair, some inviting smile and also the position of body is kind of inviting. For my ad, looking for a husband with the EU passport, European Union passport, I actually have chosen an image of myself that is exactly of opposite kind of aesthetics. So the image that rather resembles like a concentration camp aesthetics that resembles kind of isolation and that is not a kind of sexual from many kind of dominant aesthetics. Of course it could be attractive for some particular taste. Under the image there is a text saying, please send your applications to Hot Tanya at Hotmail.com. Do not hesitate to contact me with any further questions or details. And so I posted this image to my correspondence, to philosophers, artists, poets, people I expected to react on it as a statement and to send their own statements but soon after the image went out of the circle of my correspondence and became kind of public property especially after it was published once on the web. And so it's been published and republished in a number of magazines like from pop magazines to church magazines. And so I got over 500 letters in the period of last five years but I've been continuing to getting some of them. The initial ad was published in the 2000 and so it's still online. So I'm still getting some comments from people or questions and so on or proposals. Some of the interesting letters that I got by January 2001 so in first half year of the project Existency I've placed online on the Capital and Gender Project in Skopje, Macedonia. And so you can basically click to the names and then read letters or see images. Some of the most sensitive ones I put under the special password and you can actually email to me to demand a permission for your visit to those letters. So I got also some very interesting letters. This one for example came from Bulgaria and it's a country that only in January this year got into European Union and this answer is for example from August 2000 so you can imagine it's been eight years almost. And it says this guy know that one day he will get his EU passport but when, oh when. Meanwhile he went back to training in order to keep up his chances of finally getting to the dream of what he has been always wanted. It's a Luches R.B. This one I got for example from Mark, it's a guy from Northern Germany and I think it's an interesting photo that he made when he borrowed a photo camera from his office and there is a lot of letters over there from Mark. I thought it's interesting because I could see what I'm getting along this EU passport that was actually the only thing I was requesting. So you see some kind of handsome figure, big stereo and so on. This one comes from a very interesting perspective. It says hello dear lady, I know this is a bit late but I just now found your aunt and site. Are you still in the market for a husband? I don't want to go into any great details if I'm wasting my time. John, 43 years old in Texas. Of course it's a very American also way to address me. And I found interesting the way he's posing. Some like his naked, almost naked but still some parts are covered and you can see like next to him oil that he used to cover himself. And he's standing in front of the fireplace. It's like a symbolizing home and I thought it's quite interesting one. I also got comments of course from women like this one from women, woman from Kazakhstan working in a World Bank in Washington. I also got like stories from women who married for papers, stories from people who offered to marry others in order to help them and so on. I have a whole collection in my archive with those stories and histories. This one is just an intervention by Gay in Serbia. So using this image as an icon because in that area over there this topic of transsexual or gay is total taboo. This one is coming from a guy from Austria who actually had a romantic ideas about marriage so we couldn't do it and so on. I really address you to see the work. I have to say I had with a German man Clemens G. We had like a six months long correspondency and then I arranged our first meeting as a public performance in front of the Museum of Contemporary Art in Belgrade. So it was a priori public. It was live on the web. It was in a number of newspapers and magazine in Serbia. It had a special program on B92 television with interviewing us. So it was not something private happening in a bar on the airport or so on. You can see the documentary video within the installation. And so just few weeks later we got officially married in a marriage office in New Belgrade. In the presence of two witnesses of marriage and the translator. It was not a performance anymore, a public performance but the work went into the media of law. And so at this stage, this was very important point in the work. You can read in my wedding book a text that was written by witnesses of marriage that describes the situation of marriage. So everything that was not obligatory to do such as for example, wedding rings, kissing. We of course refuse to do because you don't have to do it by law. And so they also explained that this marriage was what it was. As a witnesses in front of the art system. They did it. Signature, this is of course fake. This is a fake image. It's done in Photoshop. And this is this very important document called International Marriage Certificate. And so on the base of that I got visas. You can see some of them in the installation too. And of course we played all this kind of living together in order not to get suspicious to the authorities and not to have checked the warmth of our bed sheets. And I'm showing this work as an installation, as an archive, receiving people's commentaries. I'm happy to get them from any of you. And of course after all this happened a divorce party. And the project was over officially in June 2005. I will be standing right there so if anybody has a question please come.