 I had some material that I was going to show you, but I didn't follow the rules, so it's not in the right format so that it's not compatible with this little machine. So I do have one piece that I can show you. So therefore I'm going to speak more than we're going to look at images. So here, I'm a performance artist, so you can look at me. I'm very comfortable with this. I guess I would like to say that as an artist, as a human being, as a woman, I introduce myself as an Anishinaabe Kwe, that means in my language, which is First Nations, I'm First Nations, but the Anishinaabe people are from around the Great Lakes and I grew up in Northern Ontario. But what I wanted to say is basically that I acknowledge myself as being a woman of my people. So if that's a feminism, then maybe it is. And I think when I look at my own practice as an artist and how it is I got to this point right here, I think about my grandmother who in my opinion is, was, she passed away in the late 90s. But she was a woman who resisted the English language. She refused to learn English. So she spoke only our native language, the Anishinaabe language. And she was very much a woman who lived very close to the land, off the land. She was trapped, she fished, she basically lived from the wealth of the land. And my mother decided, I think, that I should not learn my own language. And it's taken me many years to come to terms with that. And the reason she did it, I think, is for a very, she was very committed to me surviving in this new way of life, this new world of living, not a traditional lifestyle, but that I had to go out into the world and survive. So I think if I look at my mother, myself, my grandmother, in 100 years, our lives changed drastically. And I think I'm an example of the progress, so to speak. Now, last night, I was at a party at the National Arts Club. And because there was alcohol involved at this party, basically it started to turn into like a sing-along. And I was taunted by another artist, challenged, perhaps. She said, hey, Canada, sing something. And I think she was wanting me to sing something in my Aboriginal language. But of course, I was born to speak English. I was raised to speak English. And in my country of Canada, the reason my mother wanted us to learn English and speak English only is because when my older brothers, her first two children, went to residential school, which was run by Catholics, they were forbidden to speak the language. They were punished for speaking their language. So basically, between the Catholic religion, Christianity, and government, the Canadian government, there was a very strong attempt to destroy our languages, to destroy us, and to assimilate us. So I think when I was taunted by this artist to sing something, I borrowed someone's scarf and I wrapped it around my neck. And I sang, oh, Canada, while choking myself, strangling myself. I sing it first in English, then in French. Because in Canada, of course, we have two official languages, the founding nations, the French and the English. And I originally did that piece in 1992 as a performance piece in Quebec City. And at that time, in 1992, actually it was 1991. In 1991, nope, I'm wrong, in 1990, okay. In 1990, let's go back to the 90s. In 1990, I was invited to do a performance piece in Quebec City. In 1990, there was a political situation in Canada where the Mohawk Nation, south of the city of Montreal, took up arms, guns, to protect their land. And this happened outside the town, which is called Oka. And now it's referred to historically as the Oka crisis. Because the town of Oka wanted to expand their golf course, nine more holes, and they wanted to expand that onto Mohawk territory. So the Mohawks said no. They took up arms, they blockaded roads, bridges. So it was like a 78 day ordeal, a political situation, where a police officer was shot and killed. And through this process, the Prime Minister then, Brian Mulroney, called out the military. They surrounded the community, the First Nations community, the Mohawk community of Ghana-Satage for 78 days. So there was a standoff between the military and the Mohawk Nation. So I sang that song as a protest piece in 1990. It was my own personal way of addressing this political situation. So I think for me, performance is very much about, it's personal. It's personal because it's my person, it's me, it's my body. And I think that with my body, I can address history, I can address the immediate, I can address political issues. So for me, performance is deeply personal because it's my way of speaking out. The piece in the exhibition space is called The Named and the Unnamed. And it was originally a performance piece that I took place in downtown Vancouver. And it was in 2002. In 2002, finally, a man, Robert Picton, was charged with the murder of 26 women from the downtown area of Vancouver. There are at least 65 missing women from that neighborhood. And many of them are First Nations women. Many of them are prostitutes, junkies. They live basically very close to the street. And so for many, many years, Mr. Picton was killing these women. And currently, he's on trial. And when I was on the airplane coming to New York, there was an article in the Vancouver newspaper. And it was basically they're publishing some of the testimony or who was on the witness stand. And there was a man who apparently found somewhere, not on Mr. Picton's property, but off somewhere in the ditch, but close to some water. He found a half of a woman's skull. And through the investigation, they basically, Mr. Picton, he's a pig farmer. He has a large property. So for over a year, they were sifting through dirt and mud and doing DNA kind of research. So they connected that skull to some ankle bones and some other bones that they found on his property. So I think for me, I'm interested in addressing violence and it's particularly violence against women. So what I want to show you is a video component of a piece that I did for the Venice Biennale in 2005. I represented Canada and the Canadian Pavilion. So this piece is what you'll see is you'll just see the video component, but the video was projected onto a screen of falling water. So for me, it was about maybe three meters, four meters wide, three meters high. And the piece is basically it loops continuously and it's about two and a half minutes. So I'll just show that to you and thank you for listening to me.