 I want to say, first of all, thank you to Elizabeth Saikler and to the Brooklyn Museum for this opportunity. I'm happy to be in New York. I could only dream of showing my work in a context I am honored to be part of. As an exchange student for one semester at the Cooper Union in 1994, I was introduced to feminism, mainly in bad girls and very bad girls show, in the new museum that year. For me, feminism is a constant invigorating, sometimes subversive starting point, a well-lit ground, a starting point that was marked by the work of women who changed the world of art in the last 30 years. 30. I am going to talk today about the significance of place in how I conceptualize my work and in the way I think within my installation projects. I will try and describe to you the way I create a place where an encounter of the viewer and my experience is made possible. So the first work you've already can see. Do you hear me? This is called Resident Alien. It was shown in a 1997 document in Castle. And what you see here is a cargo container, standard six meters, where I change the floor, which is normally from either sheet metal or wood. I took a sheet of metal and hammered it with oxy-citalin with a lot of heat and deformed the floor into an imprint of another place. So this work is extraterritorial, is a non-place because it can move from place easily from one location to the next. And it is not dependent on a site inside a gallery or inside a museum. Wherever I exhibited it, it stayed outside. This is another angle where you can see it's quite laborious work with heat. In the smaller box there, there's a small container. There's sort of a lit space and a radio playing. And if one wanted to, I just want to show you when you are in the box, your head is coming out of the hole of a, we call it a Turkish, an eastern toilet, something that you really see more in the east, more in the army. This is just another work that has nothing to do with it. So there's really a head container inside a product container. And in order to deform the metal, I needed to heat a hammer and use another hammer, a cold hammer, to actually hit this red metal. And so part of the process came into the work because I just exhibited also my work tools in the other side of this hill. Loud enough, yeah, OK. This is the evening before I shot the video on the beach of Tel Aviv. And this work called Barbed Hula is shown here in Global Feminism. This sort of dress rehearsal in which I was dressed as well, not like on the beach the next morning. I performed it. I practiced on a roof in South Tel Aviv. I still live in the same neighborhood, by the way. And it's about a certain, also if the container is a non-place, this is a very small place. It's 90 centimeters diameter of sort of a border that with a centrifugal force, I am always in contact with this barbed wire. If you look carefully, you see the barbs are turned outside, outwards. So I'm not being wounded or shredded or whatever Robert Smith wrote in The New York Times this day. It's actually more dangerous to come near me and something that can't be sort of access this body. I think I was without clothes at 5 o'clock in the morning, the next morning, where I shot the video. And I think it's normal to take off your clothes. Otherwise, I started the issue of why do I wear this or why do I wrap myself in these bubble wraps? But you can decide. I'm not showing the video right here. This is another territory. Three meters diameter, I made a large hula hoop. And posing to the sort of being one woman inside the barbed hula, this is a group attempt at mastering this hula dance with a bigger territory. It's like a task of a group, of a collaboration, a cooperation, cooperation as well. And this is a small land, a small mountain taken from a ready-made scale that I cast in gold. I inverted one of the sides of this scale and turned it into a small island of a small deformed mountain. The same technique of the container. And it's the same sort of, well, actually, this is a sort of absurd situation where the work, the inversion, the deformation, the heat, it changed nothing in the reality of the physics of this tool that, of course, stands for justice or tries to make justice shown, justice in place. Well, there's another music box around us now. This is a study for another project that followed the container. And it was a different sort of container, a concrete mixer. I was turning into a concrete mixer, turned into a music box, turned into an ice cream van. And this is one of the end results. I did this show in many, many locations in Europe, also in New York. I borrowed the logo of the European Union. I added forks underneath this truck. And it was a work I thought of, I mean, a proper place. It came when I was living in England and trying to sort of decode the system of how to reach audience without being part of the class system, the system of the galleries, the system of the museums, the heaviness of an art world. I proposed to make a project that, first, the public hears music. Then you see this sound object, this vehicle. And then I wanted to serve the audience with a story, a simple story that you don't, it's the fairy tale actually. So these are just to show you, this is a mold of an icicle, a popsicle. I don't know how you say it in American ice lollies. And it was an ice lolly in the form of a frozen girl. And this story was on the wrapper, which was sort of a body bag for this archaeological finding. In September 1998, the remains of a frozen vagrant were found at a building site on Orlandian Burgersstrasse in the city of Vermlin. Archaeological analysis of the small corpse provided scientific proof that the little matchstick girl from Hans Christian Andersen's tale truly did exist. The child who was nicknamed Orla, this means foreskin in Hebrew, aged about five must have been trying to keep herself warm by lighting the matches that she was supposed to sell. As the city celebrated Christmas Eve, she froze to death and was preserved under an urban avalanche originating. So it was referring to the time I lived in Berlin, and there's a moment in 1998 where they found a very ancient Homo sapiens frozen between Italy and Austria, and there was many details about his life. Anyway, ice preserved this girl who actually, I remembered from my childhood, this fairy tale where, for a change it was a girl who was a protagonist, but she didn't make use of what she had, and it was matches, she could have warmed herself instead of warming herself with the matches. She was supposed to sell them before coming. She had no mother. Her father said sell them or don't come back home, so she lit them and she imagined. She started fantasizing about house, about food, about things that are most important, and then she saw her grandmother in heaven and she froze and joined her grandmother and she was very beautiful found in the morning. So I did a performance just of giving this story, giving this ice lolly and I was sort of being the opposite of her. She was supposed to sell matches. My task was to distribute for free ice lollies, meaning she or her end was to freeze. My end would be to, oh, three minutes, would be to probably burn my destiny. I'm gonna go really fast, three minutes, that's the long. This is a project in New York City, Threadbacking Space, the last show exhibited there, curator Leah Ganjitano, and I did a big crater full of sugar, this is the idea behind it, that thatching sugar from clouds into thin walls and making a new topic sort of society that can translate this love or this empty energy into a real place. This is the Sahara Desert, this is me working, this is my lover who had, through his sweats, made this substance, transformed it, it's a very nervous, we call it, it's a material that transforms wonderfully this sugar, from light pink and airy, it dissolves into concentrated red, bloody, and this is a whole project which we're not gonna talk about that I made from newspapers, and I'm just ending this lecture. I meant you to talk to me as we go along, but maybe we have one minute left even for questions. Two pieces I made when I was in Cooper Union, both of them I think the most verbally I had to present them as feminists, because they were, this is influenced by Carol Gilligan's writings about entering of the wall in the traumatic way, there was a chapter about entering patriarchy and entering the wall, entering traumatically, I took a, I had to give in a work, I finished the semester one piece, I had money for one little package of Fimo, it's called, and I made this swimmer and entered the wall with her, and then I did, they said it was a performance, I showed Hans Hake, how I'm milking a bull, I bred, you don't see it in the photo, many, many catalogs of the names and the qualities of different kind of sperm, but the milking is just made out of, it's a milking machine for female cows, not for bulls. Okay, just to show you what salt can do, it's in the lowest place of the world where I started working the salt, and this is last year, so that's it for now. If you want to talk a little something, I know there's no questions usually. All is clear, like the same German. Sorry, that's so short. Thank you.