 Tack för att du kom. I den här show har jag tagit en del av videoverket Driven. Det är en kollaboration med en annorlunda svensk artist Monika Larsen-Denis där. Det här är en kort presentation som börjar här. Det här är en dokumentation från en skrivning på PS1 2001. Det är done with Monika. Vi har mött på Royal College of Art i Stockholm, 97, och vi har gjort många jobb samtidigt. Fortsättning, public installations, text-based works, och videon. Det här är en stil från videon. Det här är omkring relationer, gender roles, trust and mistrust, and power, and the passion, and also the sensualist in taking notice of small details. Here you see Driven at the PS1. Especially like when we show Driven as a large scale presentation to see the contrast to the peace, which is so private and intimate. Something happened. It doesn't come up. I'm pressing this down here. Okay, we have to press harder. This is another outdoor public screening. And this is in the center of Stockholm. It's the biggest square, and it's done when the city was the cultural capital of Europe. Here you see Driven projected onto a castle. It's at the Varnås Foundation in Sweden. Varnås Foundation is a sculpture park. And here you see another work we have done together. It started out as a public installation at the airport in Stockholm. The title is around and around. And these sentences were printed onto the luggage carousel. So when you were standing there looking for your luggage, you got these sentences. And it's about failing to communicate in a relationship and the limits of language. We have done this piece into a postcard, especially for this show. So you're welcome to get one when you step out from this talk. I also want to show you more of my own work. I do videos and large scale photographs. So this photo is one by four meters. My work is focusing on masculinity and the contemporary man. It's about playing roles as a woman and as a man. And it's also about the social expectations of being a grown up. Somewhere else is both a photograph and a video work. It's of course about the sexual gaze. I'm a woman looking at these men and I'm also directing them what to do. In the video, I asked them to open and close their legs in a special rhythm. So it becomes like a dance, a choreographed dance. I use different symbols of power like architecture and in this case nature. But also beauty itself. This picture was shot in San Francisco at Stanton Beach. The piece is about the fear and the freedom of losing control. To be in something larger than yourself. And in this case it's very hard to control the nature. My works are stories about powerful, vulnerable and beautiful and insecure individuals. Here you see the dotcom people, the dotcom professionals before the crash in 2001. It's shot in Stockholm. I always use real people in my work. I mean if I need a businessman I go out in the street and look for a businessman. And I ask him to take part and then I'm directing them. So I transform reality just one snap. Like from when they have control and then in this case I put these men into the water. And they are in a surrounding that is unfamiliar and they have to lose control. This is a video work. Here I use a well-known man for the first time. This piece was done before 9-11. I think that's important. I wouldn't like to do it after. I had an opening in New York City, the 7th of September 2001. Which was a very intense and strange situation. During the first time people were really laughing about the president. And then this horrible thing happened. And the gallery had to close. Because I mean this piece really got different context. So it was difficult for even the gallery to know if it was appropriate to show it. But he showed it again and he opened after three days. And the reaction was compact silence. I think this is my most shown work. I've shown this work constantly since then. And it's always changing with the current politics. I took the material from CNN and made a new story. It's all the silent pauses when he's not talking. So he's showing off not a powerful man but the other sides. He shows off insecurity and confusion of a person that's being afraid. And the little boy that wants to get applause. And a boy that wants to be loved by his father. Here's another work. Maybe a familiar power situation. I don't know. This photograph belongs to an ongoing series that started 2003. So far it's consist of 11 photographs. And I'm also doing a video work. Here I show people as still lifes. As nature mortar objects. It's an equal objectification between men and women and objects. And it's also about life and death. I wanted the man to have bare feet. So you can see this living skin compared to the books that had leather fabric. So it's this contrast in the piece. It's about being surrounded of something that you cannot control. Or you can control your small area. I mean the books are shaped after his body in the closest area. So you can influence your nearby area. These works are all very large scale photographs. I like the physicality of approaching a photograph in a more physical way. This man is like the story about the princess and the pea. But it's layers of our time that he has to relate to. For me it's a contemporary archeology. I feel that this structure is history. And we soon won't see any cars anymore. And we will feel that this was a very long time ago. This photograph is my latest project. It's both a series of four photographs and a video with the three channels. It's about security and of being enclosed and protected. But also the opposite of being isolated and not seeing the bigger picture. Like the journalists in the war they were called embedded journalists. They went there to get a better picture of the war. But they were so embedded. So it was hard to get it. So this is both in your private life and in a bigger picture. I also think about the world and the nature at large. Like the icebergs melting in Antarctica. In the video I'm asking them to slowly move out of the bed. So it's like a waterfall or they move very slowly. So they almost move like insects or creatures that you don't know. It feels also very abstract. So they are going away and I actually don't know where they are going. I'm curious to see where the men in my works are going. I feel like the people in my pictures are not portraits of these people really. They are more distant and they are replaceable. It's more a constant flow of humans. This was what I had to say and if you have any questions you're welcome.