 The speakers, Lene Husten-Massen is sitting over there. She's not speaking today, she's just observing. But it's director of museum Scannabar and a partner in the Eastgate Project. Lene Mollerwald is a museum inspector at them. Abby, this is the case where we're gonna present from today and also museum Scannabar. And then Myana Poe, director of chosen, this is Scannabar. And I am Nina Vajpojicin, and I'm the product manager at the Eastgate Concept. Where we are, just where we talk from, is in Denmark, in the Lakeland, the biggest city here is almost just in the coastal capital. Perfect. Well, shortly, just wanna tell a little bit about Eastgate as a concept. It combines landscape storytelling with world history in terms of fine modern art. And has existed since 2014 and done several projects. And in each project, we always have the same elements. But on different sites, we always have excavations or places where they've been excavated. We have art in situ and we have audience and visitors with tourism perspective. And also in all projects, we work with the process, one big event, and then the event is always temporary. And then we work more permanently developing or in people's mindset. And the case we're gonna talk about today is rebuilding the Abbey Eastgate 2017. And also just shortly, if you could just now comment on the ideologies taking things away from the site and putting it in boxes. The main thing for Eastgate is to bring the story back to the sites because we're always site specific. So with art and people involvement, bring the story back to the site and give them the story. The site is a monastic ruin. It was excavated in the 1930s and the 1970s. As you can see on this slide, there's hardly anything, or there's a little bit of a comment left, but there's not a lot above ground. And we're actually walking around in the ruin park as an archaeological excavation. What we know, it would have been like, is very monumental because we have a system on the street where the building is preserved. Today, the house, the site house, opened at ruin park and museum. This is twice six to seven thousand half year because we're only open half year. The purpose of making this event was to create an image of, and also to create an essential awareness of the site because we are in the process of developing the attraction. As you can see here, this is a cardboard installation that we were presented by the artist, Olivia Prussett. And then the next slide. We had an event six days in May last year in consistent of workshops and the event where we built the cardboard monastery together and also the demolition of cardboard and eminence. We had to take out the erection and the eminence and it was supposed to stand for 24 hours. 250 people helped creating the cardboard in four days before the event. And then we had the erection, it took place in one day. We didn't know how many people would turn up. We got the message up. Internet would be local, all the local channels. We expected somewhere between 500 and 5,000 people to come in because we were all long on help from volunteers, we couldn't build this ourselves. So it was a community project. We're just gonna show a small movie from the last left. It weights over 1.6 tons. So you had to lift approximately 20 kilos per person or something. So it was only doable, people staying and helping. So it's just a short movie. And really really scary as well. It's not finished yet. They're still in process of putting things in. So I guess you can almost feel in your stomachs. This was really a moment in time, unforgettable, not only for us, but for the four and a half thousand people that were there. At that time, as Nina said, the sculpture weighed more than a ton and a part of that was three and a half kilometers of gravity. Just imagine, what we all experienced was that at that time, co-creation really meant something. It may be a buzzword, but this is co-creation. We had lots of volunteers working with the installation. As Nina said, it was a week before, so we had lots of different volunteers, the old, the tired people. But what we found out, what we saw, was that there was a form of volunteers, volunteers that we almost knew, the school kids and the good friends of the monastery. But the audience here also spontaneously became volunteers. When it stood there, at the end of the day, I guess at least a thousand people had touched the cardboard boxes, for when they arrived, planned out, during the workshops, racing it, and when it finally collapsed. What you saw when it collapsed was that the audience, especially the young ones, the very young ones, would run up to the installation and jump in it. We relied on that because we needed to re-sign the cardboard. So we had to make a plan of again. And I have one picture of people like Ann's carrying them in a row, all these cardboard boxes to the right re-signal thing. So co-creation became for real, real time. We also gained what was the purpose of the awareness and attention. We, speaking about external branding, it really worked. We were out on all the platforms and channels and national TV. So there was a lot of fuss about the monastery, the museum, and the area. Internally, there was branding in the sense of, for example, pride. I think everyone that touched the cardboard boxes at the end were very proud. So what we also gained was a lot of new owners. We saw that the old ownerships were refreshed by this event, but we also had great new and broader ownership. So more ambassadors, more attention, more external and internal branding, all leading up to that the monastery and museum is now undergoing a great development plan which has just been decided. So now we're looking forward to the monastery shining even more and the whole area through the monastery shining. And that is because of the volunteers, the locals, all the new ambassadors involved in this conflict. Thank you very much. Yes? What did you say? Oh, okay. Thank you very much.