 Thank you, Carolina, and thanks, everybody. I'm happy, actually, to speak after your work, because when you showed me these images, the things that first occurred to me was the transparency that you used by building a frame and the context and the possibility for the viewers to be in the same moment inside and to experience themself and the outside at the same time. And these characteristics remind me as well of the practice of my work as a curator and writer and the work related to my institution back in Albania, Tirana Art Lab Center for Contemporary Art, which I have established in 2010 and I've been directing for eight years. So we are an engaged institution working with Albanian artists and building a dialogue with international and regional artists, and what is important for us is to create not only to figure out what we want to do, but even how we want to do it. How do we want to construct our work as an institution and how do we do our work as curators and producers? And some of the characteristics that have been very important for our work in the last four years have been the idea of working with a concept of inside out, downside up, and transparency, and polyphony. So bringing different voices together. And we try to do this in all our events and this allows us to, let's say, to work with this concept in different layers because sometimes I think it's not enough if we do this only in the exhibition space because exhibition space can and curatorial practice can sometimes be practice of exclusion and selection instead of being a process of inclusion and opening up. So I just want to show an example of how actually I do this. So I was in Portland at the Portland Institute for Contemporary Art and I spent there five weeks and it took me a while to understand where I was and what the context was. I was so far away from home, from Albania, it was nine hours of time difference. So I used the experience that I had there and this time to reflect about my work. So I put together a project that this is the space of Portland Institute of Contemporary Art, one of the annexes and the program that I put together was called Nine Hours Away. So this is the first layer where I start with my work. I brought together, I wanted to show the work of European artists that I've been working with in the last years who are engaged and whose works reflect indirectly and a little bit distantly to the social and political problems in the US. So there were, this was the space with three screens where I showed in the middle a work from Russian collective Stodilat, then a work from the Croatian artist Damir Očko and the work of Albanian artist Silva Agostini and it was important for me that the videos change place because I'm trying to work as well with place and time and what I did as well and this is as well a way how I curate and another aspect that I try to introduce in curating is bringing different elements together. The installation that you see behind is part of some details of the work of the American artist Abigail Deville who just had an opening at Paika and her exhibition is actually outside of the space but some of the elements of her installation that she didn't use were there so I actually included them in my show just to continue a dialogue that was there and of course to bring back the viewer and the mind to the space. While, so the three first films was shown and then in the fourth moment the light went on and you could see this installation and then together with a local curator and art historian we recorded a poetical, philosophical conversation about my experience there and her experience there and we included that as well in the work. So the project was a 90 minute piece involving space, time and different realities and putting them together.