Tanz im August Podcast #17 – Simona Deaconescu

00:00:05: Welcome to the Tanzam August podcast.

00:00:09: This podcast series is part of The Tanzam Agust Festival, presented by Hau Heblam-Ufa this year.

00:00:16: it takes place from thirteenths two twenty ninths of august in berlin.

00:00:21: several artists from this years program have been invited to join a conversation series.

00:00:27: In each episode they share insights into their lives and creative work talk about their past and current projects, an offering in-depth perspectives on the works they are presenting at Tansom Auguste.

00:00:45: In this episode, Riccardo Carmona, artistic director of The Festival talks with Simona Diaconescu.

00:00:52: She will present her work The Choreography Of Water On Eighteenths, Nineteenth And Twentieth Of August At Health.

00:01:02: Thank you for agreeing to talk with me on the podcast of Tensin August.

00:01:07: Could you start telling us a bit about your journey as a choreographer and how EO practice developed during last years?

00:01:16: I started choreography pretty late in my career, usually in Romania which is where i come from.

00:01:25: you have to follow this trajectory of doing a ballet school and having classical training.

00:01:33: But I come from a small city in Romania where there is no theater, not culture whatsoever.

00:01:40: so basically started studying film when i arrived at Bucharest.

00:01:47: My career began as filmmaker actually student here And then in my second year of university, I discovered contemporary dance.

00:02:00: It was so interesting for me because everything was like free and abstract... ...and i was super in love with contemporary dance!

00:02:10: Then I applied to the University and did film and choreography at the same time.. ..I also worked during that period.

00:02:18: it wasn't a really tough period for me.

00:02:21: But then, like after I finished the university where also the training was more towards dance theater or creating choreography for theatre pieces.

00:02:33: Like you were taught this hierarchy of director and all departments that i know from film school.

00:02:41: anyhow When I finished it got a scholarship to go as a dance webber.

00:02:49: And then, there my perspective changed a lot about what contemporary dance could mean.

00:02:55: I started to reopen myself for many things and little by little developed this interdisciplinary practice in which i also used the knowledge of doing film or video research.

00:03:12: In past years several projects that continue over years.

00:03:20: One is like this research pillar, that involves mass densities and how they have been shaped by ideology in history but also the present moment.

00:03:31: And thats one strain of my work.

00:03:35: and then another strain that involves thinking about the future of the body, hybrid bodies.

00:03:43: And this involves a lot more like scientific research in the area of biology or fluidics... ...in what I'm presenting at Tanzima Auguste.

00:03:57: feminist project that I'm doing with an Argentinian artist called Florphir Vida-Martín in which we document the labor choreographies of women from Eastern Europe and Latin America.

00:04:08: And this is a project that develops in years, it's like living archive... It's a video installation and we are developing it yeah from two to three years.

00:04:20: so this where i am right now shortly.

00:04:25: Yeah, thanks a lot for sharing all this.

00:04:27: I think also we could dive deep into any of these lines that you're researching but let's focus more on the work that are going to present here in Berlin and those who mentioned it has an interest from your side to bring together dance and science or dancing choreography can talk about that?

00:04:48: And why do you think is interesting too go there?

00:04:54: questions that I have been having in the, let's say past five or six years is like how do bodies going to... The human body is going to develop into future.

00:05:05: In terms of its relationship with the environment, with technology.

00:05:12: Our understanding of history and what truth actually means?

00:05:18: And how all this is like modifying our bodies.

00:05:22: so it kind of came from these questions you know Like How are we going to transform ?

00:05:28: And also This idea Of deep time and What It Means Deep Time like Going super back Back in History where when We didn't We were not like this, but also going with our imagination and speculating super far into the future.

00:05:46: So in between these two very far away points of time... And yeah!

00:05:53: In terms of science I have worked before actually ...I've done projects at the Institute for Nuclear Physics here in Bucharest.

00:06:05: Yeah, I have worked in a program called Bio-Friction that works with biohacking for previous show.

00:06:12: That i've been developing called BLOT that you actually saw when you were in Romania.

00:06:17: So...I kind of had this practice Of looking into scientific research but..i must say that im not a scientist.

00:06:26: so do not look at the eyes of scientists ideas that could transform into choreographic practices or methodologies.

00:06:37: And to think about more from... From that perspective, you know?

00:06:41: Like how do we think of the body with a specific perspective?

00:06:46: so I don't do scientific research but movement research and arriving at it looking for scientific materials or doing like experimentations and working with people from the domain.

00:07:02: So yeah, more like in this idea...

00:07:05: Yeah!

00:07:06: This is super interesting also because I think through these methods you open different ways of choreographing as well dealing with a body which are not standard ones that you learn at dance school for example.

00:07:23: The show that you're going to present here is called the Choreography of Water, so maybe you can also share with us why this attraction to water and how I started

00:07:38: this project with my colleague and friend, Joana Vrememosse.

00:07:42: She's a visual artist in Berlin who lives very near to HAL-III.

00:07:49: We started thinking about the project then discussed it in twenty-twenty years ago.

00:07:54: I must say that developing projects usually takes four or six years so... ...I'm not like a fast worker!

00:08:03: And in twenty-twenty, we started to speak about putting our practices together and she was just starting to develop like a speculative fluidic computer.

00:08:14: It was one of her first works!

00:08:18: I looked at that.

00:08:19: it was amazing...I was amazed by what she is doing from out discussions.

00:08:25: actually she referred the movement of water inside her sculptures as dance or scoriography which I found it really interesting for a visual artist to think, like...to have this choreographic thinking.

00:08:38: Also she used the dance training as well.

00:08:41: so i said that's an amazing mix!

00:08:46: What Iwana does basically is maybe use some branches of science that had been forgotten or marginalized and use them in speculative way.

00:08:59: what was interested me back then back then, was to understand more about the fluidic system of our bodies and how this fluidic is connected with it.

00:09:12: How can we think about these two systems together also from an eco-feminist perspective?

00:09:17: So I was reading like this type of papers... And thinking about them but not really wanting a piece in my head.

00:09:30: So we started to put together some ideas and first, We thought about the museum or gallery work.

00:09:36: But then life happened And she got a lot of projects.

00:09:41: I got a lots of project as well but i kept reading.

00:09:45: She started to develop her practice using fluidics more than like alot.

00:09:52: Then in twenty-twenty five last year felt that we have to do it now, and I said like you and i would like us too.

00:10:00: Go back to the project.

00:10:02: she agreed...I was very happy!

00:10:05: We also invited Simina Oprescu.

00:10:08: She is a Romanian artist living in Berlin And uh..she works with sonification of data and she has really interesting practice of creating sounds based on listening.

00:10:22: So, I invited her also into the project and we ended up working together with a group of four dancers in Bucharest.

00:10:31: And yeah!

00:10:32: We worked on two periods.

00:10:34: one was dedicated strictly to research With the dancers and Widiwana and Simina just trying to imagine new alphabet or language trying to basically understand certain principles from fluidics or like, from a cosmetic and trying to see how they can influence the body.

00:10:55: Or if they can be transformed into movement practices, choreographic practices in other way around as well?

00:11:02: And then this was in first part of year... ...and now we are on second part of the year leading to October.

00:11:10: We actually had rehearsals during production period.

00:11:13: Yeah, I think also our listeners... If they don't see the piece live.

00:11:18: They can look at photos that we have in their website but you'll notice it's very visual and there are water sculptures.

00:11:27: There is of course some sounds here on stage And i had a feeling these elements or the sculptures and sound Are becoming as important to performers so they become performers themselves.

00:11:43: Was this a challenge for you and the rest of team, how to balance their presence?

00:11:49: No.

00:11:50: We were very excited with these objects!

00:11:55: I started developing an emotional connection towards them?

00:12:00: No, not at all actually.

00:12:02: That was the easiest part of the process because the dancers themselves were so into this project and they had similar researches themselves.

00:12:15: Yeah, no.

00:12:16: And also it was interesting for me because I was part of the production as well so i was going to... The objects are made of glass and they're basically manually blown!

00:12:33: So there is a glass artist that actually blows them and kind of creates using different methods based on Iwana's sketches.

00:12:45: But also like a challenging part of this object is the sound that they are creating.

00:12:50: So basically, they're creating sounds based on movement in water... ...like an oscillator.

00:12:56: so air and water creates certain types of tones.

00:13:01: Well those tones were created by some type of orifices And yeah!

00:13:07: That was challenging to make.

00:13:09: Like how do you make them?

00:13:12: So we did several with the people in Bucharest here, from a glass production company that took this challenge to work with us also.

00:13:25: We were very grateful and yeah...we managed create first prototype.

00:13:33: then more objects came Working with them for us as dancers and, um... For me as a choreographer not at all.

00:13:42: It was very interesting to explore them And see what they can do.

00:13:49: Also I feel that we don't overuse them.

00:13:54: I also didn't want to over-use them.

00:13:56: So like i would say each one has their own moment But it's like that come back or something like this, so yeah it wasn't hard to work with them.

00:14:09: It was more hard to produce a first prototype and understand if they are working... If the sound is strong enough on stage these types of things that were more technical side.

00:14:21: Yeah fantastic you agree?

00:14:24: I mean, the piece also works with idea of water as a system and you draw parallels between the water that's inside of the sculptures in The Sunday Make but it is also about what we have within our bodies.

00:14:36: The circulation... That we are having on our bodies But also the circulation of water inside of whole planet.

00:14:43: This was very interesting to draw all these parallelisms.

00:14:46: Can you tell us more about this angle?

00:14:50: And how then?

00:14:51: this was also method to develop the choreography.

00:14:54: Yeah, so basically on a very simple level what we are asking the audience is to think.

00:15:02: about the circulatory system of their own bodies as the circulary system on planet.

00:15:07: And think what happens, for example if you start diverting blood from your veins or any kind of liquid?

00:15:15: What happens when we stop it and overflows so that this type interventionist way upon our body would happen to us?

00:15:30: If not die, but decay and become sick something will happen with our system.

00:15:35: So in this paradigm... In this system of thinking, we are inviting the audience also to think about a planet because civilizations were born

00:15:48: from

00:15:48: these ideas working with water for their own purposes.

00:15:53: Diverting water for agriculture was one of first technologies that developed societies.

00:16:05: And we come with this question, you know like... We have been diverting water for so long changing the courses of water on our planet but we've reached a tipping point.

00:16:18: and now in moment when need to think about how much or how this relocating of water, our interventionist choreography on the water itself influences the planet.

00:16:33: So it's more like from these perspectives that we started to think about a piece and open up for this question.

00:16:42: Of course there is dance and choreography And what do you usually abstract?

00:16:49: For some people This opens a certain type of imaginary.

00:16:53: For some people, it opens another kind of imaginary.

00:16:57: and actually we had different experiences because I have this practice inviting audiences in the rehearsal space all the time And um...I've got to play a game and basically present parts before the premieres when i still have time for work on them Of course!

00:17:16: Then in an anonymous way they can give me like super honest feedback.

00:17:22: And I have this game with the audience now and i discovered really interesting things in their imaginary, you know?

00:17:30: But one of the things that because...I had a software which kind of puts percentages on what type words people use to describe what they see..and basically word appeared more and it makes them big.

00:17:45: It was war!

00:17:47: So it was the World War.

00:17:49: Because what they saw in this movement of water and how its circulates from one part to another, I think it correlated with what we are experiencing today regarding shores... ...and people fighting over water using water as a research or as a bargain chip.

00:18:14: And yeah, it's interesting what opened up.

00:18:18: In the imaginary of people open this potential space in which people can just tune-in and build on these initial ideas that we started to work on.

00:18:29: Yeah well... This is really fascinating because when I saw the piece my imagination didn't go there.

00:18:37: but now you speak about.

00:18:38: it does relate also How the performers move with each other, also how then objects are... The vessels translate water from one side to another.

00:18:50: Yeah I can see that.

00:18:51: yeah It didn't

00:18:52: happen for me as well.

00:18:54: Also it was almost like going into this feminist imaginary in which our own organs were taken inside out and they become worlds that they are exposed in which water is moving, and like my imaginary.

00:19:11: They could also be seen making associations with different bodies of water that exist in nature.

00:19:20: But then when I looked on certain specific aspects of the piece, through the eyes of audience that didn't have this context and research that was having.

00:19:30: And i looked at a moment in which they were using these instruments to make it sound like some type of fusing bomb.

00:19:43: Then I said, oh yeah.

00:19:44: You know?

00:19:45: Actually like if you look at it from this perspective is actually opens that space and i don't mind because This is... Like.

00:19:55: That's why for example It's one of the reasons that I kind Of chose dance and choreography over film Because it Kind of gives you you Know this possibility of seeing so many things in an

00:20:08: image.

00:20:09: Yeah absolutely.

00:20:11: But also, I mean through this talk that we're having.

00:20:15: We can understand you have a very research-based process so it takes time to develop projects which is really great.

00:20:25: Can you share with us more on the ecological and philosophical aspect of your research?

00:20:32: Just before you spoke about some papers, maybe it's also interesting for the listeners to get a reference of what is relevant.

00:20:41: Yeah actually I think.

00:20:43: well there are Astridad Neimanis book bodies in water that most people especially from creative domains have read so far.

00:20:55: So i've read them three times and note book of the book in which I actually, because she has a very performative way of looking at things.

00:21:13: Actually i bought something now from Ecuador that is really interesting and it's in Spanish.

00:21:22: so read this book.

00:21:24: It talks about feminist debates about body, nature and sciences.

00:21:30: Can you say the name of this book?

00:21:32: It's El Discurso Noes Destino.

00:21:35: The discourse is not a destiny.

00:21:37: it's interesting.

00:21:38: so I'm gonna read these books as well.

00:21:43: And yeah!

00:21:44: Of course i also read other things.

00:21:45: but just to say like two Not do hear school conversation on this And other things that I think really helped me is to understand the principle of fluidics and how it works.

00:22:01: It was interesting looking at them from a choreographic perspective.

00:22:06: For example, there's this thing we say as choreographers or dancers How do you work with momentum?

00:22:12: Or don't lose your momentum?

00:22:16: And actually, here it was the other way around.

00:22:19: For example we worked on what means to lose momentum or like stay and prolong the momentum.

00:22:27: So for example that's one principle We put in the choreography developing this language which is taken from Fluidix.

00:22:38: Other things we took from Fluiddix are working with energy Like how you're storing energy and for example, like working with pressure.

00:22:50: And what is the connection between speed... ...and pressure?

00:22:54: All these kinds of things.

00:22:56: so also that can be very technical but for me this are very inspiring because it kind of encourages you and encourages dancers to test different hypotheses about movement.

00:23:08: You know!

00:23:09: When we started work on the movement.

00:23:11: This exactly how thought about it, so we started with the hypothesis.

00:23:17: We say let's experience with a body what is means to lose momentum and then we would state that entire day and read about it understand how we want to use that principle.

00:23:37: So because usually people ask like, How do you actually work with this type of scientific notions?

00:23:44: And for example, This is how I worked very like experimental experiential.

00:23:49: Actually, this is the word in English Like doing like experimentation like in a lab We come from a hypothesis and then we tried it With the dancers and then The dancers might say no, this was wrong like from.

00:24:02: this cannot apply.

00:24:04: Let's change it, and then we changed.

00:24:06: And another language appears not only from translating these ideas into the movement but also from contradictions, transformations... From things that appear.

00:24:18: maybe say today all our hypothesis was like We cannot do anything.

00:24:25: But something else appears That starts with this perspective.

00:24:30: It is really amazing because Iwana had a huge research for us.

00:24:36: She basically, uh... For one week she was giving us lectures on fluidics.

00:24:42: the girls were working with materials.

00:24:45: we learned history of it.

00:24:47: The first analog computer was water computer in Hellenistic period until the Moniac Computer in the nineteen fifties.

00:24:56: So both me and dancers including technicians were there actually learning about this, you know?

00:25:05: And that was really like.

00:25:07: I liked these type of process because they also think it fits everyone involved.

00:25:15: It fits their curiosity and your mind, the imaginary...it's not only useful for a project in that specific time-and space.

00:25:26: Yeah!

00:25:29: this type of opportunity to not do like research myself, you know?

00:25:33: Like I go somewhere and i stay there alone.

00:25:35: And then we come with big revelation.

00:25:39: it's more like... We do it together!

00:25:41: And we test some things and then together we find the language and we will call this The Language Of The Show.

00:25:48: Yeah that is very beautiful.

00:25:50: There are also a strong parallelism in terms of methodology or what you're describing because in science, also you have to work as a team.

00:26:01: You have to worked together to achieve something.

00:26:04: this idea of the lonely genius is actually not real and it was never like that.

00:26:10: so there's also this co-activity around defining an ideal or testing a thesis.

00:26:21: To go back to the piece, so... The sensations that we feel during this show because it's also very sensorial and very aptic through movement of dances but also sounds.

00:26:34: There is something about this immersion resistance and flow present in the sculptures as well.

00:26:44: We see them on stage.

00:26:46: Did you explore these qualities of sensation when making the piece together with a performer?

00:26:52: Yes, and actually one super simple principle is the squeeze.

00:26:59: Because if we stop this system it's like a squeeze also on the tube.

00:27:04: You have to stop water by squeezing It.

00:27:07: so We used lot this idea of squeezing and sliding.

00:27:14: We actually put resistance, what you said.

00:27:17: And we worked so much with this idea of the resistance and resisting current flows.

00:27:23: So basically to stay as much possible in a certain state then to accumulate like a certain type of energy until it is impossible to contain It just happens enough system in which a lot of water is accumulated and then you stop it.

00:27:44: And we actually, one of the first principles that were experienced was like what a resistor does to a fluidic system – pressure!

00:27:57: What are connections between resistance and pressure?

00:28:01: So yeah… We worked with all these.

00:28:04: Although at the beginning technical i would say.

00:28:11: I think what happened in a very beautiful way with these dancers is that actually they put it in their mind and in their bodies, and the entered certain states that are kind of like trans-like or hypnotic... Or really going inside while they were doing this That created something else You know?

00:28:32: Like this type.

00:28:33: Yeah!

00:28:38: kinetic touchy or something like this.

00:28:41: But yes, indeed I'm glad you noticed but these are usually things that are so inside the process... That you don't even tell afterwards because they're at the beginning of your process when you start actually shaping everything.

00:29:01: and another interesting idea from this perspective is playing with speed as well because we have different speeds that we didn't try to sync, so we tried to un-sync them.

00:29:14: One is the speed and I think the choreography comes from that from how these speeds interact.

00:29:22: So one is the layer of water that basically moves all the time throughout the show, we have this system in which we regulate speed using certain sensors that dancers are placing on saltwater and then it moves through stage.

00:29:39: And when you think about what type of speed and how it's regulated without a show there're several speeds that in which the dancers are performing as well, trying not to keep this median speed ever.

00:29:58: So going maybe too extreme or playing so much with speed... ...so they lose connection with timing.

00:30:06: and then we have music that has a completely different speed than tempo.

00:30:11: when it comes to different layers.

00:30:14: We have these three layers of time that come from these three compositional tools we have on stage.

00:30:24: It's great you bring the topic of sound, because it does play a central role and for me is not only an atmospheric sound but also becomes like a structural force which goes through peace.

00:30:38: So how was to work together with the sound artists?

00:30:44: Yeah, actually Simina said that at the beginning.

00:30:47: She says she feels her role is to connect with my world and Iwana's world but i felt like she was doing much more than that.

00:30:59: Simina and Iwanna we are very perfectionists so three of us were super-perfectionist and self critical about what they do.

00:31:06: But I think Simina is best in this.

00:31:12: And basically, she is very good also at sonification of data and how she created the music.

00:31:19: Of course I don't know exactly...

00:31:21: Let me just interrupt you with.

00:31:22: can explain a bit what this soundification of Data?

00:31:26: Yeah!

00:31:26: Basically She works with datasets and She creates sounds based on that dataset.

00:31:36: So data like numbers, any type

00:31:41: of data.

00:31:42: And in this specific case first of all she was part of the process training the dancers In this technique deep listening based on Pauline Olivero's exercises and writings... ...and also she worked with them vocally.

00:31:57: they had an entire week Basically, she taught us how to listen carefully.

00:32:04: Also the sounds that we don't hear because the piece was a lot about what we can't hear and what happens inside our bodies.

00:32:11: And then for the creation, she used sounds... For example, sounds that are from our lungs.

00:32:20: But those sounds were normally recorded with medical instruments like internal sounds of our own body but also deep sea sounds and the sound of objects and water moving on stage.

00:32:38: very interesting and fun recording session with the objects in the entire installation.

00:32:44: And then she basically collected all these sounds, and created a soundtrack that we are now using on stage... ...and also integrating what already you can hear onstage by amplifying the sound of the object themselves!

00:33:01: So yeah this is what she did but for me it was amazing to see her work with the dancers as well, I think she has a... She might have a gift for that.

00:33:13: Maybe someone also will start to work more in choreography!

00:33:19: But at least half an hour now we're talking and i wanted to ask about like structure of piece if it's really fixed structure or is possible that dances are also improvising alot?

00:33:35: Because when I'm hearing, and also thinking there must be like a lot of unexpected moments through the piece because of movement in the watcher.

00:33:43: The movements or sound that happens... It could be interesting to share with us more about it.

00:33:51: Usually my pieces are kind-of scored but very... like on a very detailed level.

00:34:01: So yeah, I must say that the structure is very clear.

00:34:05: so they know what you are doing at all moments in this piece but exactly with those principles.

00:34:13: and how do we time it differently?

00:34:17: Because also part of my practice as well was to allow dancers new energies and like to really create a real time feeling on the stage.

00:34:31: But it's really hard for me when people ask if its completely choreographed or if its scored.

00:34:37: because I say its scored is not choreographd.

00:34:40: but look at three times in a row, It seems pretty choreograph'd.

00:34:45: so...I don't know how to reply this..it IS scored!

00:34:50: So Its Not Like Steps that they are learning, and for example if a new dancer comes in it's pretty hard to learn the steps.

00:35:00: But its more like.

00:35:02: you need to understand the principles how their time is what are rules of interaction.

00:35:10: then you can perform them.

00:35:12: And actually this autumn in October We are creating a new version of our museum in which we're going to work with eight dancers and... ...we'll do this duration for six hours.

00:35:28: And translating it into a durational pace that is very score-based, like million principles.

00:35:42: Then there's implementation time I think kind of force us, but in a good way I say to go only through the essential principles what this means.

00:35:56: So yeah and it was a frame that i created for myself in the sense too, but I thought about the frame of working in which would enable dancers to work with these principles and understand them.

00:36:14: But not end up choreographing them?

00:36:17: I don't know if it's...

00:36:18: No no that makes sense!

00:36:19: It also I find super interesting.

00:36:21: That is a project as you said started couple years ago And now also you stretch it You give new forms and shapes.

00:36:31: So i'm curious hear from what are you working on indexed?

00:36:35: So, you spoke about this project.

00:36:37: Maybe I think it's also interesting for the listeners to know what comes next.

00:36:43: Yeah,

00:36:45: basically now what I'm most focused on in terms of creating or like creation of new work because I am also touring past works that i have and I've started to tour this piece.

00:36:57: We're going to have our international premiere in Tansim August but then we are going to present it Italy as well.

00:37:03: so yeah...I'm also touring!

00:37:06: But I also had a new creation that I talked about before which involves women at work And I created it with Flourfir Vida Martin.

00:37:18: She's an artist living in Mexico City, but she is Argentinian and we document the gestures of work—we call them the choreography or flavour —of different women from Bucharest, from Mexico City... ...from the Republic of Moldova… …and also from Ecuador – from an indigenous community that just returned– from Ecuador called Sacha Wasi!

00:37:44: So we work in macro settings like Mexico City, which is a city-like country.

00:37:50: But also super micro environments for example in Satchawasi where we worked only with an extended family.

00:38:02: Basically this video installation tells the story of five women from each community and synchronized screens basically telling these stories in which we do a performative interview with them and we film their movements in film technique called camera lenta.

00:38:22: So yeah, We're going to present this actually the Museum of Contemporary Art of Romania at the beginning of November.

00:38:29: so... Yeah!

00:38:30: This kind takes lots of resources.

00:38:32: I must say like In years when i'm working on this project have save half year for it because it's a lot of research, filming and post-production.

00:38:44: And also we are presenting in Spain three different locations lecture performance that we have started to create based on this project.

00:39:00: This is going to be my year.

00:39:03: I'm working on this project, but also like I am expanding the notion of the choreography and then started to tour it as its stage version.

00:39:14: so yeah.

00:39:15: Yeah beautiful amazing!

00:39:17: As always finding important too ask artists what they are doing next because most times reveals other facets in their work even if it looks something very different from the choreography of water, there's a lot of connections and that I think is also super interesting to think.

00:39:36: And they come also form you as a total artist or person.

00:39:43: maybe in final words what do you hope people carry with them after seeing the choreography?

00:39:52: Something more sensorial.

00:39:57: I'm more on the reflective side.

00:40:01: When I see performances, usually I enter in this reflexive state and... ...I would like if people could when they see our work can open themselves to be in this reflective stage because usually being in that state opens other states or questions And also i am not an artist tries to answer things.

00:40:25: You know, like I don't think i have the answer for many things.

00:40:29: so I like questions and if the audience goes home with a lot of questions that's also very good for me you know because I also take a lot Of question.

00:40:40: So I have A lot of Questions from The work That I am doing.

00:40:45: Yeah thanks so much.

00:40:46: yeah um...I liked it a Lot that we carry questions With us.

00:40:51: totally Thank you again for this wonderful talk and we are really looking forward to see you here live in Berlin, in August.

00:41:00: Yeah thank you Simona.

00:41:01: Can't wait!