 Well, we work as an artistic team, which is something that we think has also something to do with feminism, and how working collaboratively for us is a way of questioning authorship as something that has only to do with an individual. And we always work in collaboration. It's not something that we do for one piece, and then we leave it, but it's something that we always do. It's also a way to somehow not let people know exactly what our identity as individuals is. This is also why our names, we only use our surnames so that you don't really know what gender are the authors and who exactly they are. We decided to start with a film still from the work which is being shown here at Global Feminism. It's called A Kiss, Un beso. It's an old work for us, it's from 1996, but we want to contextualize it with a little bit of more recent works. In this video, you can see these things I was talking about, not knowing exactly the defined identity, who is kissing, is it to women, is it who are they. You can never see their faces completely, and also there's something disrupting the visual pleasure for the viewer. Some people might say, oh, two women kissing, that's so nice. So then we put a heavy argument on the background so that the viewer was not... The argument has no translation because it doesn't matter what it's about because an argument is always an argument. Around these years, 1996 and 1998, many of our works were dealing with, I mean, we were on our works. It's not only because we wanted to make a self-portrait, it has more to do with it just the easiest for us. It was us that we had, so it was us that we used. And also with something that has to do with representation of our community. We didn't really want to be... We knew there weren't many people in our country who were speaking openly about queerness or about lesbianism and showing themselves in an open way. So we knew that there could be a problem with people taking us as a representation for lesbian community or peers. And they would say, well, we have these two artists already, we don't need anybody else. And we don't feel... We don't want to be the quote of the exhibitions anyway. And we don't represent anybody else and ourselves. And so as I said, it's us most of the time during these works, self-portraits that... This is a portrait who played with Goya's work, because we use so many different artists in our work. Our work is dealing with politics of representation, not only with politics only. But we make the work in the... We live in the art world and we want to express ourselves inside that. So we quote this work from Goya's, which is a work who... The Goya's work is dealing with war issues in terms of violence. It's a Spanish civil war, one person similar to other fighting each other till they die. Yeah, people would bury themselves up to their knees so that they couldn't move. And they would throw stones one to each other until one of them would die. So it was a way of... Yeah, in this case we don't... We... It's not as violent, but anyway we can move, because it's not the Photoshop issue. Yeah, many of the pictures you don't really see who is on the picture. And we also use the double image most of the time, double pictures. You don't... Because for us, we said it's important to question authorship and also to question the original of the work. We don't know which photograph is the original one. This is a portrait, also a portrait that we quote in this case Dushan and Bruce Nauman. So we make... It's called Self Portrait as a Fountain. Yeah. And again, we are not looking towards the camera so that you can really define us and we are playing with gender... In this case, we want to use a queer environment. I mean, the picture is made in a bathroom, but a dirty one. You can see the image, the image is on a mirror, which is also with graphites over there. So we... We... Part of our work is also dealing with the places that we occupy in society. Yes. We have all these series of works that we made after living in San Francisco for a little bit more than a year. And feeling for us it was... We had this utopian idea about San Francisco as a beautiful place where you could live freely and we had this Hockney's image. So happy... With swimming pools. Swimming pools with bright colors. So we started to do a lot of work with swimming pools that were empty, that we would photograph them in the moments when they are not being used. And we have been doing different series around places that we analyze exactly when they are... They should not be analyzed. We look at them when you shouldn't look at them. We'll go to San Francisco, we went there because we want to live kind of paradise. Suppose that for homosexuals there's a place in the world called San Francisco, which is a paradise. So what we find there is not exactly what we really call a paradise. And it was in 1997 when we were there and so the AIDS was destroyed the community also. So it was like completely the opposite from Hockney's experience. So we started to think about what kind of places there are in society for us and what kind of lands... What kind of... And these lands give us an identity too. So we start to think in the reason why in this society we are always associated with kind of a happiness like in discotheques or like in swimming pools. So we decided to choose to talk about these places when everything is closed but it's starting again. For example, these pictures are taken on a sand discotheque after the party but just in the same moment that the people leave the party. So there are only the rest. Yeah. So again we look at the spaces not when we should look at them but when you're not supposed to be there and you're not supposed to be enjoying the place. The images were taken in Madrid actually. Yeah. This is a more recent work from 2004. And here androgyny and playing with masculinity is another issue that is very present in our works from the beginning as you have seen in the pictures when we said the identity or the gender is not easy to grasp. And here we started to work with other people apart from us and also with cinematographic discourse, cinema because we thought we wanted to talk about the construction of gender and how so many people talk about how femininity is constructed. But not so many talk or analyze how masculinity is also a construction and can be made up of things that you add or things that you put on your behavior. So we decided to invite to an open casting a lot of women who would play James Dean in Rebel Without a Cause. And we just chose a scene from the film and showed it to all of them so that they would reenact this part of the film in their individual way, the way they wanted to. We take the screenplay so they need to say things that the scene that we chose was just after a car crash and one person died and James Dean survived. So he said things that I need to go there and I need to do it because they called me a chicken so I need to go there and kill someone in a way because they called you chicken so masculinity is just a chicken question, just a war question, just a war come, push people to go to do something that they don't want to do really. For us it was also interesting that there were many different women playing this role in different ways and to see how, what kind of strategies they would use to look like a man. And it's important in this casting we don't give them any kind of makeup or no help to be masculine so they choose the way they present by themselves. And also the fact that we chose cinema is also, it has also to do with the idea that cinema is giving us the images of how to be a real man and it's also a real woman. So for us it was really important to quote this discourse from cinema. Yeah, for us at the beginning when we started to work with cinema it was difficult because we realized that men say nothing in the films. It's really difficult to find even a complete sentence because they always say nothing just women are talking and talking and talking and we looked for the scenes where they say something really interesting that we could get for the casting and then we went crazy because we realized that women are, it's true, women are talking all the time and men they just move. You know, they just say something like cool but short and then when you decontextualize it it's like nothing, nothing. But all of us feel like the opposite. In this particular work this is a short video and this is a guide instructions to be masculine. Like a manual. A video manual. It's important that we are not talking about drag queens issues, we asked women to play the role but play the role to pretend to be real but we saw health more than the clothes and the attitude. So in this video we just make a kind of manual. So it's under instructions manual. There's a discotech music and the woman who appeared here is playing different poses which help you to be masculine if you need to be masculine for example you need to learn in one hour it's completely possible. Yeah, it's like an ironic manual and the video is divided in sections like one how to drink, two how to sit down, how to move, how to wait and then the woman is performing all these different attitudes so that in the end if you watch this video all day long after as you said after a while you should be able to perform. This is a video called exercise of power body space. We mixed two films here, one was Schindler List and the other was The Apartment. So there's a woman playing the role of the chief in both films. The boss. The boss. Yeah, sorry. You're better. Yeah and well here we wanted to analyze how power is dealt with in cinema and so we were invited to do a job in our work in an old factory and old tobacco factory and we could choose to do anything we wanted it was an abandoned tobacco factory. So we thought of films that could have been shooted in similar environments or that had to do with the idea of how the structures of powers could function in an environment like this and we chose these two films Schindler List and we chose some scenes that we thought were interesting on the poses of the boss of the powerful man and how he acts and he moves to say the things he wants to say and then The Apartment where there's also this the boss acting like a boss really and we did we had this woman to perform everything but here we really we characterized her a little bit yes a little bit her and this is just the last project we are it's not finished yet and it's something that we have been doing in the Philippines yes because we were there so we decided to work with Apocalypse now Apocalypse now is a film shoot completely in the Philippines but represented by Vietnam so all the people think that they are in Vietnam but they are in Philippines something happens the same with the gender that you don't really realize what this is so we decided we choose this woman so she's playing the role in the film of Martin seen in Apocalypse now playing that the same issues and I think that we ran out of time thank you