 Well, thank you so much for inviting me for the show and for the 15 minutes of fame, maybe. So very quick, I want to center this little starting conversation on one aspect of my work, which is the transition it has had in the way it is addressing political issues. This is an example of how I started my work and in 1985, when Anna Mendieta died, I created a piece where I was for 10 years reproducing her work, all her performances, for the Cuban artists. So it is a work that was specifically about Cuba in which I was using art as a way of accessing some knowledge that otherwise was impossible to have since we didn't have any information about her work back there. But what started as a personal homage to Anna became political because she was an emigrated. So this is a little bit how the process of my work, when I started doing art that was based on my own experience or trying to use art to rest it to the spaces of desire or spaces of encounter, and of course that became political. So following that, I decided that the only art I could do was political because nevertheless it was going to be interpreted that way, so I continued doing it in purpose. So then I work also with this idea of the personal using the history of the country as a way to use my work to re-enact or re-establish a conversation of something that happened before. But at one point it wasn't enough for me to work from my own experience or from my own body because doing all these performances myself was kind of closing the opportunity to talk about something else that is the society because it was very easy actually to be called feminist or about women instead of about everybody else's experience. So I changed this using my body by starting using other people's body. In this case this piece is called Untitled Havana 2000 and it was a piece where I used an old cellar for prisoners of conscience and what I did is I turned off the light and completely covered this with sugarcane and people were, I'm going to pass this because 15 minutes is not enough time. So this is the image of the piece. So you went to there, it was absolutely dark and you go towards one TV that has Fidel Castro's image and then when you turn you see the shape of these naked men that were kind of guarding the video. And of course this piece was talking about vulnerability and how different is vulnerability from the point of view of the people in power and from the point of view of the people who have no power. So in the video Fidel is opening his chest, his vest to show that he has no bullet proof but really what happened, I mean kind of playing with this idea of vulnerability but what really happened is like then you have the real people in it that nobody sees because it's really dark until your eyes get used to it. So I showed this because then I kind of passed from working with my body, working with somebody's work to work with my own personal history, to work with other people's, with other people in the piece, to work about other histories, so histories of other places like for example this piece is a piece I did in the last documenta in Castle and it was a piece specifically requested, commissioned for the event and it was supposed to be talking about the history of Germany. And I think this was a very interesting process because being always kind of confined to just talk about a place as exotic for some people as Cuba, it was very interesting for me to go to another place with a very charged history as well like Germany and be given the opportunity to talk to them about their own history which is something I usually have to suffer in my own place, people coming to me tell me what my own history is so I really like this exchange of roles and what I did in this case was this piece with all these bright lights and I kind of tried to animate it to kind of have the idea of what happened with the lights so it was a very, it was 50 theater lights, 750 watts and when you enter the space it's absolutely bright in your eyes and then you hear like somebody walking like this and cocking a gun and what happened is like then the lights gets out after like eight seconds and they go back again and when the lights goes out there is absolutely silence but if you are in a specific spot in the piece and your eyes get used to the darkness you can see in the moment before the lights go on again that that sound is not recorded but it's real people like here, this photo is very good because it does show how difficult it is to see the piece so you can see the light in your eyes but then you can see this little kind of person on the back with the gun. So from there I was, I was also realizing that I had a lot of work that even when it was political it was kind of just dealing with the world of art, you know, like kind of the inside institution so I decided, one second let me see if I can do this. So what I decided is, I did one piece that was very important for me, I don't know, it's not running, well I did one piece that was very important for me where I went outside on the street dressed in this kind of in Kisi Konde icon in which a lot of people follow me in the street and the thing is that the show was planned for the 13th of August which is Fidel Castro's birthday. It was really for the 11th but one artist wasn't ready so we had to change the day of the opening and the creator's birthday is the 14th so she's like forget it, I want my party on the 14th, I don't want to do the show and I'm like are you sure you want to do this on the setting? Yeah don't worry, I was like okay. So I did this piece that is not running right now and if we have a question and answer I'll look for it and find it. Where I dress myself like an in Kisi Konde, you know fetish and of course in Kisi Konde is used to acknowledge promises that are not being fulfilled like if you promise that icon something you want something say please can this person come to my opening whatever and if he come like bring you some flowers and if you forget the flowers you better run for your life because they kind of get really mad and go after you. So I use these in the context of Cuba that day and then a policeman of course I mean the streets were really filled with police people came and said what's going on because there was like a bunch of people following me and they say is that not work and then the policemen say like okay proceed proceed and I was sort of a crush because I supposed to be doing political art rights something that you know kind of will question the status quo of politics and so on and finally I say okay something is I mean I was kind of depressed the last half an hour of the performance you know because I'm like shoot I do something that is not right. So I decided that I was doing something that was not exactly accurate and was that I was representing the problem you know I was representing the problematic on the dynamics of power in that society and in other societies because I also work about Germany and India and other places and what I did is I resolute to instead of proposing to an audience to share with me what's going on and kind of complain about it and try to look for a nice icon iconic manifestation of an idea I decided to take the same tools use the same tools the power use and in this case it's a very old piece this is a newspaper I did so what I'm doing right now is very different I'm doing I'm still consider my work performative and performance but it's not working either with my own work in my own body nor the body of others is work with the social body so and in this case I also decided to take in my hands the same tools this power is using in this case as I said it was the media I I did the illegal of course newspaper in Cuba and of course it was shut down but I did two issues so that was very good so I did a newspaper that was for the artist to to talk about the situation and society in Cuba and more recently in the year 2002 I created an art school so as my work as a performance work and in this case what I have done is I decided that of course I decided that that one of the most important tools power has is education and one of the best way to do political art is one of the ways to do political art is to intervene in that process and what I decided is to create my own version of what should be taught for art and that came of course as most of my work as a response of as a response of something that I'm not completely satisfied by in society or in their world in this case was that I saw a lot of I saw a lot of young artists doing work that was basically copying our forums images you know and I decided why if we have such an amazing society and such a special process to talk about we should do international art in this kind of basic way where it's only looking like everybody else's work so what I did is it's created that school I mean of course in 15 minutes forget it there is no way we're going to see it but but and what I the thing about the school is to the thing about the school is that I created a program in which not only the students that I don't call the participants the participants create work that is engaged in ideological and political questioning of the system but also I have visitors actually two days ago yesterday Tomahishorn left the school because he was visiting the school so we had the I don't know a lot of people coming from from for example you know scientists to sociologists to psychologists to anything I mean to artists theoretician etc and the idea is mostly to talk to to kind of create an art that is not engaged in this kind of in this kind of how can I say self referential creation of visual contemporary visual art where mostly a lot of work is just referencing all the work or kind of in the same circle but to look at creativity in any media and kind of going from in the middle place between all the ways in which humans manifest and the ideology now how can you talk about ideology in different manifestations another piece is this last piece which is oops sorry is last piece which is that is I just did it for the Moscow vinyl three weeks ago and it is also again a piece where I tried to establish an institution or try to use the knowledge that has been created to to kind of you know manipulate people's lives by by the government and the power and in this case what I did is it's kind of quick I'm sorry they told me I had 50 minutes sorry so what I did here is to create a piece in Russia which is a trust workshop and the piece will be a year-long piece and the idea is to we are inviting ex-KGB agent to deliver a workshop for Russians so he can use all the knowledge he got as an agent to screw people's life screw is no good to say okay whatever that's not good what they do either so so to damage people's life and and use all that knowledge and that training to re-establish some sort of assertion and some sort of confiability you say trust to the Russians who are passing through a very complex socio-political moment and that trust can go from their families partners to the president you know it can be any level of trust but of course I encounter a problem which is if I'm doing a work that is specifically the audience is the target audience is the Russians how can I translate that to the art world and that was a problem I had to solve and in this case what I decide to do and it's the first time I do it just as a try and I think I'll do it again is to three minutes okay is to is to create an opening ceremony so people can so it's almost like a way for me to announce to the art world okay guys I'm doing this project you might not see it but I just let you know that I'm doing it okay so it is kind of an opening ceremony and of course it gives you a chance to be a little bit more loose and more you know than if you do the actual piece and in this case I was I don't know if you were able to see and I'm going to be very quick but for the opening ceremony what I had is all these there were that two options you can see from the outside or you can go inside if you go inside you encounter these Russians who are actually every day in the Russian the Red Square and they work for tourists so what happened is that they are there so as a tourist you go you take one of those animals they take a photo and you pay for it so what I did is I bring them to the space and we pay them a hilarious amount of money for them for being one two hours in the space and of course people could go and have their family portraits you know in Russia and there were Russians foreigners anything but the detail is that these people had these photos taken with a photo on the back I don't know if you see this and that is the Iron Felix which is the guy who invented KGB so it is kind of it was very funny because people were so excited about having the animals and so like having such a good time that only one person out of 76 one person only ask who is this person and only another person who was Russian enter and when they saw this they say I'm sorry I cannot do it okay so it's 76 74 didn't even notice so it's kind of this and I being told this finish so thank you very much