 Hi. Hi. Hello, everyone. My name is Maya Rodowska. I'm from Riga, Latvia, and I've been working as an independent curator for over 10 years already. You might ask me, like, how can I manage, you know, how can I actually be able to work as a independent curator? And one of the answers is actually this project that I've been developing throughout many years since 2011. It's called Blind Carbon Copy, and I would call it more as a platform project for networks and for people to work together. So when I started it, basically, I was asking questions to myself and and my colleagues from the Baltics, how we can work sustainably, you know, how we can build something that would not put us in a situation of a production mode constantly or exhaustion and exploitation and labor and all that. So I realized that actually a kind of a network structure could be a very good structure for us. So we started to build this project and at first came together from basically people coming from Scandinavia and the Baltics, and we tried to use this kind of territorial structure, but basically it became about, you know, territory, people, experience, knowledge, learning, working together, interrelating, bonding, moving, and also being mobile. So all these kind of aspects really play as crucial for this project and for my work. And obviously I started also to ask questions, how to build a sustainable network that has helped me and other people like artists, art practitioners, everybody in the field, how to educate ourselves via the network system, via the nets of interrelations. How to activate these networks and maybe the network can become an institution or maybe it's a non-institution. So it really doesn't matter in that case. This is just one of the examples, one of our projects that we did in Riga as a response to the Riga Biennial a year ago. And then I would like to introduce you with another project. It's called Active Art and this is a book that you see on a screen which involved several people in this project. The list you can see there, but actually the main question or the main idea behind it was what you read there. The book is based on a manifesto that was written a hundred years ago by a Latvian poet, a more like an auto-deduct Andres Kurtzis, and we took this text as a departure point for us to talk and consider the word active as an active kind of, you know, concept and meaning and we basically use it as a concept for the whole project, like inviting people and doing workshops and trying to kind of understand how this word can be as an active word basically in the contemporary art field. We were not aiming to talk only about activism. It was actually more about looking into the the inception of being active, you know, but Kurtzis wrote like back then he was actually telling that we have to consider the, you know, this kind of a role of active something, you know, opposite to passive that is already something established and defined and clear. So active is more like undefined, unclear, unpredictable also something in the process. So that is one of the actually main concepts behind it. I will actually stop here and leave more time for others. Thank you.