 Hello. Hello. Good evening. Good evening. How are you? Very well and you? Fine. Can you hear me well? Yes. Very good. So hello everyone and good evening to Carolina Markiewicz and Pascal Piron. First of all, I want to thank the two of you for having accepted to be part of this public program that has been launched two weeks ago with the first interview between Suzanne Cotter, the director of the Muda and Francesco Bonami, creator of the MiFamily project. Today, tonight, I have the honor to interview the two of you as part of this online intervention for the MiFamily digital project developed by the Muda and launched at the end of October. So before we start our conversation, I will give a very short introduction about your work. Carolina and Pascal, they start collaborating as an artistic duo in 2013 after having had experiences in the fields of theater and philosophy Carolina and visual arts and painting Pascal. The artistic research, which began with a two dimensional perspective, has then started to investigate the third dimension and the relationship between space and image. They start to produce short films focused on the value of the individual and the role of humans in society. They're very much interested in investigating the social, cultural and political questions that arise from the migration effect that is modifying the social dynamics of our generation. They base their projects on the historic events that have changed the horizons of society today, and they're still changing, of course, our society. In regards to historic events, I want to start talking with you about the impact in our society of the new technologies, the new medias, the artificial intelligence and the virtual reality. You have worked already a lot with virtual reality and I'm thinking about three important works of yours. I would like to focus on my first question, and my first question is, how do you see the impact of virtual reality? I would like to focus on my first question, and my first question is how much do you think the virtual and digital environment and virtual medias can modify impact? And change our life and especially the art world in your perspective as an artist? So I think it already has a big impact as we are seeing right now with the exhibition Mi Family, which is an online platform, and I think these kind of experiences will be slowly more and more integrated into the normal artistic experience. We were participating at a film festival last weekend where it was only online and it was virtual, so you could walk around there and interact with people and it was kind of fun. And I think rather than modify reality or change it from what it was to something else, there will be a new layer, it will add something. I don't think it will take something away, so it's not a change in the sense of replacing, but it's more like adding something, becoming more. It will be part of the context, and the context is working or dealing with new technologies like education does already, but also I think art. And it's pretty much important to think that physical experiences are still the most important experiences in art, but a virtual experience can give something else. And like in the platform here in the online exhibition Mi Family, there is a very interesting interaction and this noise you were looking for is really present and this noise is of course part of our reality, so it doesn't replace it. It gives another staging, let's say, of art. So do you think that the reality as we are facing today, especially in this particular moment where we are all facing a different situation considering the pandemic where we all have been locked down for a while and now we are anyway dealing with reality in a different way. So do you think that the artwork will react to this in a different way, in a positive way? How the artwork can, let's say, challenge this new reality? The first I think everybody who reacts in a positive way in this pandemic is doing a great job because the idea of changing is not coming from a positive situation where we felt just the need in society to evolve and to change, but it was imposed. So some freedoms and some forms of interaction were taken away and we were forced to change. So there is probably a negative emotion connected to the change which is due to the pandemic, but which shouldn't be there, I think. But I think it's for artists, I mean there's a lot of talk about how the workspace will change with working from home and more online meetings and less traveling. And I think this is something that will impact also the artwork, not only on the level of exhibitions and the endpoint of the work, but also in between all the interactions with other artists, maybe more collaborations via internet or maybe also showing your work to collectors or gallerists will become something that will have a new form of exchange and maybe also from point of view of quantity, there will be more exchange maybe, but also quality. And have you seen that your particular work in the last months we can say has changed the way you are working, your process of working, your way of facing also your research and your ideas, did you find a difference? Yes, and in our work there's always this need for focusing on the process. It's much more important than the finality of it. It's more interesting to be into the process of creating a film, of shooting, of writing, of shooting, of working with actors or with people who have stories to tell. And so this moment, this particular moment gives much more space for this process to have maybe more time to rewrite things, to rethink things, to learn how work differently with other people, with other talents, I mean other technicians, not that we are talents, but I mean that people can really have this time to exchange and to find another. Yeah, I have always the impression that it's only a thing of staging, of like in the theatre, you have a different way of presenting a story. And virtual experiences, virtual shows, virtual art or art in a virtual propose is part of it and it has to be part of it now. I'm talking about what you just said, focusing on the process. I would like now to talk a little bit more in detail about the short video we are presenting on our platform, Family, Family Family, to not be destroyed by the power and the fees that are dated 2018. This film is a result of an experience of a residency program you took in Taipei, Taiwan. And I, myself, I read this video as a story of humanity. You are talking about our unknown future, our life, of course, through different generation and through a sequence of images. Images are always very important for you. The sound is very important for you. And I'm very much interested in knowing more also about the choice of this title, the choice you made also in presenting this video as a double projection, as we can see on the platform, and also the different symbolism that we find in the video. I'm thinking about the Chinese mask, the vase as a container of values of important meanings of all the generation you're talking about in the video. And yes, I would like to know a little bit more about not only the process, but also the result of the film. So, yes, we of course are very happy to show this video on the platform because it's a very important moment in our process of being artists. This meeting with Taipei, meeting with Taiwan and its history, and we had a lot of research done about this and we were trying to find something which relates Taipei to our condition or our stories. And the title was provoked by the writing of the text. And the text was provoked by probably also by Chinese language. Even if we wrote the text in English and in French, we always write in two languages, we had already the sound of Chinese. So the title is something like a key to understand something. And the something is the culture which is transported from one point into the other. Here the collection of all the Chinese dynasties were transported during the war between Mao Zedong and Chiang Kai-chec. Was it stolen? Was it in the regard of protection? We cannot, we don't want to say, we don't know, but it's like the change of the constant change of culture which is brought by powder and by fists, by war and by traces. So and the result is a double projection because we had a lot to say also, I think, and a lot to do. It's a condensation of an extremely intense encounter with people first and with the context of Taiwan and Taipei in particular. Yes, for me it was the first time in Taiwan or in Asia. And I mean it's this process when you're coming to a complete new environment. There are two things, the place you go to and the place you come from and the way you encounter and the way you understand where you are going. It's a fine line of interaction between what you bring with yourself, your culture and your way of seeing the world and the way how the world is presented to you. So you cannot just impose your way of looking on this because it would be the view of the colonization but you still have to have your point of perspective or you wouldn't understand anything. And the video is kind of a result of this experience also. So the two videos are also like a dialogue where you have narration and two types of images, two ways of seeing the same situation. Yes, so we can say that how much are important than images, languages sound again for you in order to summarize all these values, meanings, cultural elements that are part of different words, nation, history and historic events. So I want to thank you for this brief but very intense explanation about your work and especially for participating to our project and to our platform. And please invite all of your friends and colleagues to visit our platform and of course your fantastic video. Thank you Carolina, thank you Pascal. Thank you Emmanuella. Thank you very much. Ciao. Ciao.