 Thank you. I will read a text because my English is so bad, so excuse my accent. My work exists within an intermediary zone, a sort of mental space or a frontier that I have produced and that I situate within the countries of France and the Democratic Republic of Congo. I am a cultural hybrid, endured with a composite identity. The plurality of my appearance provide me with the authorization to interrogate my own history and that of a nation, the place of my birth, as well as the continent of Africa at large. The relationship that I maintain with my own personal history or histories and to history as a larger entity permits me to formulate a critical position toward the concept of exotism. Exotism is a representation that is largely shared with history and even with practices at times. The material of my work is always simple. I use historical facts that I interpret through the production of scene. Through these front-end images, I expose my body that I use as a metaphor for the relationship between the human being and the world at large. My work set up a direct relationship that certainly covers the field of society and politics, but it also relates to existentialism and even anthropology. In my work, Oye Oye, the military march that I initiate fast with images from Mobutu's archive demonstrate the point at which his presence contaminates my body's position and act of marching. It also demonstrates indifference since my face and individuality are absent from this representation. This is why, despite my formation as a painter, I have chosen the medium of video for my work, mainly because of its immediate and direct relationship that it has with the reality and the real, as much as reality is a real combination with ideology and culture. Photography often reduces action to an instantaneous moment while video allows for the realization of the globalization of a moment, permitting us to make sense of the hysterical meaning. Sorry. That's one of the reasons for which the double, the confrontation of two seemingly separated images is very strongly fit in my work. This face-to-face or side-by-side of two video sequence, I envision as a dimension of editing that the departs and clarifies a problematic note in the recent history of a continent and continues to resonate in me. In regard to feminists, the history of women struggled for their rights. The uncarnated political force that revendicated the right to act and to think. My work is inscribed in this desire for the freedom of mental and physical expression. I don't consider myself a feminist in the militaristic sense of the term. The feminist concern a class on political struggle among men and women. This combat is not present in my work. Rather, I express and engage in the exacerbated feminity in my art. The use of my own body is inspired by the complexities of the woman and how these are expressed. By using my African-French identity, I offer an image of the contemporary woman fast with the exotism that is often imposed by history. In consequence, this ground liberty of action and expression allows me to subtly combat a number of prejudice. My feminine identity is at the center of my work. In effect, the feminine is represented as a metaphor for the human being. The exploration of this feminine identity displayed through time, memory, and history reflect the image as a woman with a new identity that is totally detached from exotism. So now, I will speak French. And Amy will translate when I will present my video. So the first video you're going to see is a video installation that dates from 2006. The first installation, the first video that you're going to see is actually an installation that dates to 2006. It's called Fleur de Lysse. It's called Fleur de Lysse. So you have to know that there are two side-to-side screens that represent a dual reading of history. Now this is the second screen. They play at the same time in installation. The Fleur de Lysse has always incarnated the power of French royalty. The Fleur de Lysse has always incarnated the power of French royalty. During the period of slavery, according to Black Cove, when the slaves were captured, they were tattooed with a Fleur de Lysse on the red iron. When the slaves were captured, they were tattooed with a Fleur de Lysse. The second film that I'm going to show now is called On the Banks of the Loire. It was made in 2005, and the action takes place on the banks of the sun. And you have to know that Nantes was a city that was part of the triangular trade. And the boats were hammered and arrived on the length of this quay, with different numbered pillars, from one to almost the end. A post that were numbered all along the river. Thanks. A Fleur rejeté à l'eau, en souvenir, en fait de tous les hommes et tous ces femmes qui étaient en transit durant cette période. La troisième vidéo que vous allez voir s'appelle Élément. C'est une boucle qui tourne. C'est une boucle qui a just chosen a small segment of the film. Pour moi, ces trois actions contiennent chacun un élément révélateur, la première le coton, la deuxième la bassine et la troisième la chaîne. Et chaque image renvoie à un cliché exotique. Que produit l'image d'une femme noire sans du coton dans la rue en 2006 ou 2005? Performing this action in 2006. It's strange to see that she is carrying this basin on her head. And if she's changed, she's forcibly speaking about slavery. In this double reading, there's an element that is situated. This speaks strongly about women and all of their forms of elements that have been changed. The last clips she's going to show you is a photography installation called Goodbye Rosa. These are photographs that measure one meter by one meter that are suspended in stays. This is a detail. This work is dedicated to the memory of Rosa Parks who is not very much spoken about in France. These two women incarnate two words, difference and difference. It's because Rosa Parks didn't want to make a difference to a man who was punished for her difference. Rosa Parks, she didn't want to make a difference to a man that she was punished for her act of difference. images, without comments. And as a conclusion, I would say that my work is the mirror of appearances.