 So, hello, and thank you to be here. I will improvise a little talk about my work, and I will show several things that I do. So this is a world called Visa01. It's a visa that you probably know here in the United States. It's key for people who have extraordinary abilities. And so I made a piece with that. This is called Certificate of Life. This is a paper that you can have in the Moroccan embassy in Paris. I go there with my identity card, and they give me this paper to prove that I am alive. And I can use it to prove my existence. This is a sculpture, an installation, a still life, called Studio Oriental, Oriental Studio. And it was shown in the National Center of Photography in Paris. This is details. OK. This is an installation of envelope that I did in Thailand, in Bangkok, in 2003. I made a little hole with screwdriver. It's a nine millimeter hole in the hole. And all the sand is falling down, falling in the envelope. I made it because at this time, there was a lot of paranoia against mail with the anthrax things. And also in Bangkok, there were a policy, a very violent policy against drugs. And they just showed the people who are consuming drugs or selling drugs. And when I arrived there for the show, they killed 1,500 people since in three weeks. So I decided to make this piece to talk about this context. This is two pieces. Decides to remain seized of the matter and another piece called Frame. I did it in 2003 when there is this big suspense about the Iraq war. It decides to remain seized. We can found it in the end of the resolution text of the UN Council. They ended most always like that. And it's sound like a false translation because it's mean nothing really precise. And in French too, it's mean nothing really precise. And I wanted to show that this Council is not so efficient in a war context or in a very sensitive context. This is called Snow in Arabia. It's just a piece of black tape on a TV with snow. It's showing like that. It's from the iconography from the picture of the Mecca in Arabic Saudis. And normally it's the people who are turning around the cube, the black cube. And here there is just snow who is moving in a lot of sense and with a big disorder. This is a carpet I just cut inside and let only the frame. It's an installation of broken tea glass. This is a self-portrait called French Touch. French Touch self-portrait. Normally to have a French manicure, you have to put some white pencil on some clear varnish. But I have it naturally in my nails. So I found it funny in an integration context in France to be naturally integrated. This is a little river in a dead end in Paris. And I put this orange powder called Gaia. It's a synthetic powder and you use it to make the food orange. It's to give like an oriental touch for your meals. And I put it in the water. And I made several work with this powder. This is a square I put in a room, carpets everywhere. And I installed this square with, I don't know the word, it's a steel. You put it in between two rooms to separate. And it's 73 centimeters. So it's a minimal square, but it's not 1 meter square, but a 73 centimeter square. It's my way to work with this minimalist heritage, minimalist history. But I use it, I use minimal cultural materials to work with. And normally this dimension, it's using for apartments in very poor area called HLM in France. It's the standard format for a door in the poor apartment. It's a call boxes with sound. You can find it everywhere like that in Casablanca, Paris, Brussels, Berlin. It's the same kind of doors. A desert, sorry. It's a desert made with couscous semoule. So you can walk on it or not or make a round. But it looks like sand if you don't recognize it or if you don't smell the smell. This is costume. This is the French hymn called La Marseillaise. But I replay it in a destroyer of document paper. It's like a contemporary composition of music. And it's cardboard used for barbarian organ. I don't know if you know. You play it with humicron or something like that. It's a crate with the water of rain inside. It's like a fountain for an outdoor piece. It's a block of 2 kilo sugar. In Morocco, we found this kind of sugar. It's a block of 2 kilo. It's looked like a big phallus. And generally, it's a woman who used to broke it, to put in the teapot, and after to share tea with all the family. So it's the format of the sugar in Morocco. And it's called principle of economy one. It looks like sculpture, but you can really buy it like that. I just opened the paper and put it in the floor. And this is called principle of economy two. It's the standard sugar that we can find in France. But it's more individual because you can take your coffee or your tea alone. And it's not exactly the case in Morocco. So it was two. And it just flew in the floor. It's a video. It's, I film at the end of a demonstration in Paris. So you see the people very far and a lot of trashes in the street. And during 23 minutes, there is truck who are cleaning the street, the boulevard. So it's like a choreography, very complex. They come as I go, come back, make round. After 23 minutes, you found a very empty boulevard, like if nothing happened. So I like to work with what we can say a cultural heritage. But I used to work with very cliche or very banal materials like sugar, powder, couscous, carpets, documents, official documents. And here, it's a very simple material because you have five demonstrations per week in Paris, so it's very normal. But it's changed nothing in reality because they are just crossing. And after, it's like nothing happened. And for me, it's like my poor heritage of the French Revolution or 68. A sentence engraved in the wall. I took this sentence from administrative documents in the French prefecture of police. When you have to apply for new paper, for new resident paper, you have your space to be filled by the stranger, by the foreigner, and by the alien. Sorry, space to be filled by the alien. And in the other side, you have space to be filled by the authority. So I just used this sentence and I engraved it in a wall. It's very small, and I laid it like that. And after the exhibition, generally, it's another alien who just fill it with plaster and to prepare the new exhibition. But the sentence is still in the wall after, even if we don't see it. This is a piece I did in Romania called Santit, Les étrangers. Santit is entitled, but in French, it's also mean that without social posture or social position. Because when I was in Romania, all the people told me that there is no avant-garde. And one person finally told me after five times that Tristan Zahron, Marcel Yonco, the founder of the Dada movement, wasn't a Romanian. And I said, but it's right everywhere that they are Romanian. And they said, no, they are not Romanian, they are Jewish. So I was very shocked about that. And I started to, when I go back to Paris and work for the exhibition, I start to make some research about the avant-garde in Romania. And I discovered that there was a very strong avant-garde and a lot of reviews, magazines. And I read all the original. I found all the archive. And I start to show all the drawings, the poem, and everything. And when I start to read the biography of all the artists, I discovered that mainly all the artists from the avant-garde in Romania were Jewish. And that's exactly why they said that there is no avant-garde in Romania because they are not Romanian. So I come back to the museum there. And I work with 15 students. And we engrave it during two weeks, not during 10 days. And all the drawings, the poetry. And I found that a lot of artists from the avant-garde are Jewish from Romania, like Victor Browner, Isidore Izu, the latest fundator. Also a lot of poets, Paul Shilan, Gerasim Luka. I'm sorry for the accent, but it was very strong to discover that all these really famous and important artists for the history of this century was not considered by their own country as a citizen. And I chose to, I made no creation for this work. I just engraved it. And I reverse it in Linoleum because it was a technique used to print in the avant-garde magazine. Yes, in the magazine. But the only things I decided to create was a translation of the name Tristan Zara. Because it wasn't his real name. Tristan means Tristan and Isolt. But it also means sad, to be sad. And Zara in Romanian, it's a country. So I translated it as Trist en son pays. Sad is in his own country. And I'm sure that Zara, it's the name. I'm sure that Zara thought about that when he decided to find her name for his practice. This is a series of drawings using simple Islamic ornaments. But I make it as a freestyle. And so you can recognize some classical figure of cross. And this kind of ornament was, it was because the Islamic decides to, you cannot show your people or things like that because it's only God who can create people or images. And they develop this kind of symmetric ornament. So you have like a figure, and you can put it in symmetry. And like that, make an infinite drawing. And with this mechanism, you can touch the question of the absolute and be close from God. And it sees the theory of the ornament. And if me, I decide to replay it. But as a bad student, and so I make only mistakes. And like that, the question of absolute cannot work with my way to draw. I don't know if it's clear, but so I make several like that. So I think it's finished. So I'm sorry, because I don't feel very uncomfortable to talk about my practice because I work with very several materials. And it's also depend of the context, and it's hard to say it in a very short time. And I think so thank you.