 Thank you. I would like first to say thank you to the Brooklyn Museum and Elizabeth Sackler Center for this opportunity and I would like also to thank you for your presence here. So I would like first to say something about the relationship with the feminism in my artworks. I do not explicitly explore the feminist themes in the narrow sense of the term. I don't raise the sociocultural context of being a woman. I can either say my identity as a woman is a direct subject of my work. I could say my identity is a subject of my work and my identity itself consists of womanhood among million others hoods where womanhood is one of the dominant ones. I do explore the general human issues issues presented by the intimate and I would say the female sensibility while doing it is obvious. Okay, but then I don't see. I will speak now about the body involvement in my artworks. Dalamos is a work that I have done at many places and each time it was recreated. The object is made of dough and it is a cast of my body. It is a work about transformation as the one of the butterfly both in physical and spiritual way. The light intensity is constantly changing, but also the object in the middle. It crashed since it was dried up and lit up wool appeared gradually underneath. In the project memento mori the audience was led to the basement of the museum where in three separate rooms three separate installations were created exploring the death issue. The first one you already know this one, I guess was an installation concentrated on the negative aspect of the death. The fear of the death itself and of the physical decay of the body. It was dark. It is a dark black room and this sound I have been recorded previously. From the darkness of the first installation the visitor enters the second installation bridal chamber. As total opposition of the first one the second room was very bright fluorescent. I used black light and gave the feeling of floating. The audience has been stepping on the wall. bridal chamber is upon agnostic myth myth of a wedding with the death. The third project is remains. There is a text on the marble exploring the verbs that contain the prefix three making collusions on the process of repetition. The outer light and the one inside the figure have been exchanging constantly. Namely by the title of the third project the question of body presentation arose more intense. Although my physical body itself wasn't present in the room I felt much bigger identification of the body laying in the rooms than with my own body. I felt like my actual bodies remains of the art process itself. What is the remains then my artwork laying into the space or my real physical body? How to make a portrait of someone that never allowed a portrait of him to be done? In this work the portrait of Plotinos I used a citation of Plotinos and projected it on the wall. By Plotinos the embodiment is not adequate representation of the one's character so I used the female body to make a portrait of Plotinos by creating an ascetic atmosphere into the room. In the funiculus umbilicalis umbilical cord a part has been cut out of the body. This bloodless meat incorporates the sense of warmth by the steam that comes out under the organ living some organic liquids. The umbilical cord explores the endless umbilical cord line of the female population. The one we had as potential into our stomach and the one we have been cut off from our mother's stomach. It is an endless umbilical cord from our mothers, grandmothers, grand-grandmothers made by abstraction. Visitors were encouraged to touch the body by the statement set on the plexiglass in front of the table. The warmth of the object gives different connotations, depicts the sensation of an organic living body. It was very important for me to make authentic recording of the pain itself. The installation children's committee consisted of non-intensive LED lights all over the space. The visitors lose the feeling of the space since it is total darkness. The sound, subtle children voices come from all directions. This was my most abstract work where the body is entirely absent. Absolutely spontaneously by the invitation of the performer Suzuki Emiko, secret performances started to take place. The bodies reappeared. The darkness is disabling the visual sense to some extent, but it is enabling all the other senses, thus opening us more to another world. The world of dream, unconsciousness, unknown, intuitive, intimate. The rational Western thought has been always scared of this approach, staying a part of it as one of the female domains. Due to the dark adaptation, a situation of invisibility for the audience was created. People in the darkness are losing their identity. There is no visual identification or voice identification if you stay silent. Even the performance can see the shadows only, too dimensional. Into this dream space, one could explore the self, the new identity, and get rid of the social codes, no sex or racial differences. You could approach the visitor by silently moving and go behind him and explore if she, he could guess your close presence by the little wind. Since for him, her, you are invisible. This is wonderful creatures. Maybe I should go back once again. It is installation consisting of a coffin, and it is interactive. When the visitor comes near the coffin, then you can hear the text, and the text is actually a very romantic story about some wonderful creatures. And into the coffin there is a hole, where is only an image of the sky. Long slender bodies, red, green or blue. These wonderful creatures were noted for their swift, darting, soaring motion and for their power of long sustained flight. So my last work is history of asexuality. It is an installation. A barbershop perceived as an exclusively masculine social space. The space is seen as visually and conceptually opposed, interrelated and combined to the intimate narrative within the stories of four different strands of hair. I explored here the attitude we have towards the strands of hair, depending on their ex owner. They are four different intimate stories. There is a text on each of the photographs, but it is made by purpose so subtle that you can hardly see it because this is not an ad. This is the second story. I wanted to speak about the body engagement into my artwork, since for me this unconscious process of living and going back to the body, these issue oscillations are really fascinating and constituting my art as feminist. Thank you.