Thank you. I would like first to say thank you to the Brooklyn Museum and Elizabeth Sackler Center for this opportunity and I would like also to thank you for your presence here. So I would like first to say something about the relationship with the feminism in my artworks. I do not explicitly explore the feminist themes in the narrow sense of the term. I don't raise the sociocultural context of being a woman. I can either say my identity as a woman is a direct subject of my work. I could say my identity is a subject of my work and my identity itself consists of womanhood among million others hoods where womanhood is one of the dominant ones. I do explore the general human issues issues presented by the intimate and I would say the female sensibility while doing it is obvious. Okay, but then I don't see. I will speak now about the body involvement in my artworks. Dalamos is a work that I have done at many places and each time it was recreated. The object is made of dough and it is a cast of my body. It is a work about transformation as the one of the butterfly both in physical and spiritual way. The light intensity is constantly changing, but also the object in the middle. It crashed since it was dried up and lit up wool appeared gradually underneath. In the project memento mori the audience was led to the basement of the museum where in three separate rooms three separate installations were created exploring the death issue. The first one you already know this one, I guess was an installation concentrated on the negative aspect of the death. The fear of the death itself and of the physical decay of the body. It was dark. It is a dark black room and this sound I have been recorded previously. From the darkness of the first installation the visitor enters the second installation bridal chamber. As total opposition of the first one the second room was very bright fluorescent. I used black light and gave the feeling of floating. The audience has been stepping on the wall. bridal chamber is upon agnostic myth myth of a wedding with the death. The third project is remains. There is a text on the marble exploring the verbs that contain the prefix three making collusions on the process of repetition. The outer light and the one inside the figure have been exchanging constantly. Namely by the title of the third project the question of body presentation arose more intense. Although my physical body itself wasn't present in the room I felt much bigger identification of the body laying in the rooms than with my own body. I felt like my actual bodies remains of the art process itself. What is the remains then my artwork laying into the space or my real physical body? How to make a portrait of someone that never allowed a portrait of him to be done? In this work the portrait of Plotinos I used a citation of Plotinos and projected it on the wall. By Plotinos the embodiment is not adequate representation of the one's character so I used the female body to make a portrait of Plotinos by creating an ascetic atmosphere into the room. In the funiculus umbilicalis umbilical cord a part has been cut out of the body. This bloodless meat incorporates the sense of warmth by the steam that comes out under the organ living some organic liquids. The umbilical cord explores the endless umbilical cord line of the female population. The one we had as potential into our stomach and the one we have been cut off from our mother's stomach. It is an endless umbilical cord from our mothers, grandmothers, grand-grandmothers made by abstraction. Visitors were encouraged to touch the body by the statement set on the plexiglass in front of the table. The warmth of the object gives different connotations, depicts the sensation of an organic living body. It was very important for me to make authentic recording of the pain itself. The installation children's committee consisted of non-intensive LED lights all over the space. The visitors lose the feeling of the space since it is total darkness. The sound, subtle children voices come from all directions. This was my most abstract work where the body is entirely absent. Absolutely spontaneously by the invitation of the performer Suzuki Emiko, secret performances started to take place. The bodies reappeared. The darkness is disabling the visual sense to some extent, but it is enabling all the other senses, thus opening us more to another world. The world of dream, unconsciousness, unknown, intuitive, intimate. The rational Western thought has been always scared of this approach, staying a part of it as one of the female domains. Due to the dark adaptation, a situation of invisibility for the audience was created. People in the darkness are losing their identity. There is no visual identification or voice identification if you stay silent. Even the performance can see the shadows only, too dimensional. Into this dream space, one could explore the self, the new identity, and get rid of the social codes, no sex or racial differences. You could approach the visitor by silently moving and go behind him and explore if she, he could guess your close presence by the little wind. Since for him, her, you are invisible. This is wonderful creatures. Maybe I should go back once again. It is installation consisting of a coffin, and it is interactive. When the visitor comes near the coffin, then you can hear the text, and the text is actually a very romantic story about some wonderful creatures. And into the coffin there is a hole, where is only an image of the sky. Long slender bodies, red, green or blue. These wonderful creatures were noted for their swift, darting, soaring motion and for their power of long sustained flight. So my last work is history of asexuality. It is an installation. A barbershop perceived as an exclusively masculine social space. The space is seen as visually and conceptually opposed, interrelated and combined to the intimate narrative within the stories of four different strands of hair. I explored here the attitude we have towards the strands of hair, depending on their ex owner. They are four different intimate stories. There is a text on each of the photographs, but it is made by purpose so subtle that you can hardly see it because this is not an ad. This is the second story. I wanted to speak about the body engagement into my artwork, since for me this unconscious process of living and going back to the body, these issue oscillations are really fascinating and constituting my art as feminist. Thank you.


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Look at this dude. Oh, it's easy. No, no, no, no, no. Dillon 2B progressive soccer. Got a mix match of players here today, but we're just going to have a fun light session, a little bit of warm up, a whole bunch of shooting and finishing, and play some small, sighted games to finish. Got a mix of players here. These two play on my men's team. One and a more. Callie's boys, they're all right.  We're watching you now. Oh, they got it. These other kids, these other three, they're like young Rangers players, I think, for our collection, but they're just always using the field when I'm doing my sessions and I've trained with them a few times today. They were here so fast. These two studs over here, working on that pro career, they think they got what it takes, but they're just coming out. They haven't done play in a long time, but we're going to give them some advice. And that young looking guy over there in the blue, this guy's a stud. What did you say? 37? 36 right now? 37, but honestly, I've seen this guy for 10 years. He gets better every single year, so age is never an excuse. Go sideways, but quick, get low, push off and stuff. Just hop. Come back, attack. Just go partner, leg swing, grabs on each side. Who's youngest? Go in. Play it one touch, boys. I'll never go in. Get him a cigarette. Don't be brave though. Whoever's in the longest goes up. Good, good. One, two, three, four, five, six, seven, eight, nine. Here it is. That was nine, that was nine. Six, I guess. Seven, eight, nine, ten. Go on, bro.  What did you say, I was ten? This little rondo for warm-up. One of the best drills, period. I think there's a whole documentary on Pep Guardiola, and all he does is rondo. That's a bit exaggerated, but every session professional players doing that basic drill just really encourages speed of play.  Challenge yourself to play one touch. So many groups will get in, maybe they have like four, one in the middle, or six, two in the middle, and they're still playing two touch. Play one touch, challenge yourself, increase the speed of play. It's going to make you have better decision making, sharper touches, better ball control when it's coming in from all different angles.  And Marc, can you get a nice pull, and put it like in line with the post on the other side, like this? How far? Like here, as same as me here. Alright, who are you? Hasan. Hasan Abad. Alright, tell me about yourself. I'm 19 years old, half Iraqi, half Syrian, I play soccer. Alright, tell us about your goals. My goals, my goal is to come a semi pro soccer player, play for a Calibri. Maybe move on to Toronto, Edmonton, LA Galaxy, something like that, you know, yeah. So we're going to go from this side, you guys be ready to go from that side. I want you to ping me a ball in the air, in the area.  Okay, so it's going to come to me. I just want you to check, check like, yeah, just use it as a guide. But control, play, I just want you to set me in this space, and then I'm going to hit. Okay, you're going to go here. I'm going to go there, and you're going to come here. Play into one. You can play one touch, play one touch, if you need two, play two. One, play, and you're in start running already, yeah.  Yeah, yeah, yeah. After you shoot, you just go to that diagonal. Yeah, there you go. Play, now we go boys, temple up now. Boys, you can switch on the end, just make sure the sides are balanced. Yeah. Who's with me, who's with me? There you go, that's better. Just do a little combination play, shooting drill. Ping from the goal line, want that in the air. Don't let that ball bounce, nice and driven, try to meet him in the air. If you can, you can play one touch here, into your target, lay it off. First time hit. And Hasan, come here. Here and ping to me. Okay, I'm going to control, I'm going to play here. Set me here. Like that. Actually, you're just going to have to attack and hit one player.  Ready, go, here we go now, temple boys. Finish, play this ball right away, play. Here we go. Hey, and yeah, I want you here. Boys, on here, check on the inside. So play to him. Check right here. They show here, and then lay me there. Don't show there, show here.  Just play now, go, hit him. Time it, not too early. Ready, go, next side, play. Play one. Here we go, boys. Let's get some quality before we finish. Start right here. I want to be a future starter. He's got potential, but got to work on a few things. And he's got to get in the right environment, right? You're playing with kids, you don't get better.  Crossing and finishing drill. I was going to go with two teams and compete again, but the numbers weren't right. So we just play a long ball from the edge of the box. Combination play, send it out wide with pace. Make sure that pass is strong enough. Good first touch from the winger and put it in front of the attacker. The other biggest thing is the timing of the run. If you're getting in too early, you're going to have to backtrack.  You always want to be attacking the ball. So I prefer you start your run wide and late and then sprint into the box, get something on goal.  This is your team board, yeah? This is our team. You're going to go... We've got uneven, don't we? We're here, Kieran. One can be neutral? Yeah, you want to be neutral? No, you can play. No, it's okay, it's okay. No, it's okay. Yeah, it's going on. Again, Chris. There you go. Man, man, man. One little... Keep it. Keep it, keep it. Keep it, keep it. Again. Man, keep it. Hey, brother, play him. That one, that one.  Where are we going? Just go to the end line and back. 1-16 is the fastest. They just do a 3. I think we went to the fence and back. We sit there and back twice. Did they go to the fence? No, they were going to the fence. Yes, as we said. Nobody said that. It's on camera. Oh, brother, okay. Do you have any idea? How was that, boys? That was good, good session. So, these guys are coming out. My man, Spiro, and our mutual friend, Les Hewitt. What's his book? Power of Focus. Go and buy it on Amazon right now. Give me that commission, affiliate. Ask these guys to come out and see if we can take a look at them. Give them some advice. They're young kids and they want to do really well in the future. Play with some older men today. And usually the biggest thing with younger kids coming up, playing with older guys is always the speed of play. So, two things for you guys. One is the speed of play. And the rondo in the beginning, yeah. You know it's one touch. We've been playing one touch. And it comes to you and you stopped it and didn't make a decision, right? So, it's this. It's not so much the feet. You guys have good feet, yes? But it's the decision making, taking those passes a little quicker, knowing what you're going to do before the ball is at your feet. And the only way to do that is you've got a little more of this. The ball is always coming or we're just always watching the ball. You're just always watching the ball. You're never watching what's here, what's there, what's around you. You're going to pass it before it comes. Where's the guy, the guy defend before the ball gets to him. So, just think about that. A little more scanning and just asking yourself what am I going to do before the ball gets to you. Not the balls here and now I make a decision. Does it make sense? Okay. And then another thing I would just say off the top, because again, you've both got nice feet, good technical players, it's quality on the passes. Long passes, short passes, best players, older players, top level, rarely give the ball away, right? So, just pride yourself in that when you're training. Even though we're playing a little rondo or you're doing like simple little drills, never give the ball away, makes sense? That usually just comes down to focus. When we get tired, then we start to get a little casual with the passing and stuff like that. Okay, but I thought you guys did really well. And the other thing I would say is fitness, getting a bit tired. If you're in there, if we're being real, you've got to call people out if you want to improve. You want to get better, right? So, I can't lie to you. Fitness will come. And you guys are the youngest here, so you probably should be the fittest, right? I can't be able to run longer than you. I'm an old man. Yeah, take that advice. If you want to improve, you've got to take advice and criticism, right? You can't get offended when people give you real talk. Okay, but I know you guys will, and you come out next time, you'll be even better. Sound good? Okay, thank you. A little 4-on-4 neutral player. I think we're all a bit out of shape. Haven't been playing much this year for obvious reasons. As far as games and real matches, we've just been training training kids. It's really not the same. No substitute for match experience. But it was a fun day. We've got tons of touches. Guys of all different ages and abilities. It was a lot of fun. If you liked the video, make sure you hit that like button. Subscribe. We'll see you in the next video.