I guess our research is very continuous. So, like it’s hard to define the beginning of the research for a project, because it’s just from the beginning of 2013. Like we kind of go through all this material for a specific line of work. And then, I guess like, yeah it comes like the text in parallel with the objects, like we kind of define what’s significant to us at this particular moment, I guess, like with a political or social situation and like, we want to speak about. So, develop material part the same time as a conceptual part, we always kind of take, I don’t know, our inspiration let’s say from the reading group. And somehow it’s like the projects they a little bit like narrow down the discussion or something. Like, they narrow down the topic of our interest and then the aesthetics and the objects and everything comes together around this text, that we start putting together from various references. Just looking into very diverse, I think, kind of sources, no. Yes, and then I guess, we kind of think a lot about the making of the space for this particular reading. So, kind of thinking of like architectures nearly. So, what it means to kind of make a space for this text in a given gallery or setting and then what it needs. So, we really think about the needs of the readers and the audience for and understanding of this topic. And then, how the objects that we select, how do they influence this understanding as well. We find the performers in- within our group most of the time. So, they’re people that we worked with before, people that followed the group or like people that can embody this text, that is read. I think that is really interesting for us, to have this like, they are not necessarily professional performers as such but are interested in specific like topics or like this feminist and queer theory. But also interested like in self-representation and movement. So… And then we work in a workshop setting with the performers, so that we test out the movements within the space like through a few days and then I guess it comes to the presentation, the final presentation. It’s always the case with performance that you cannot fully control all the elements, because it is a live and time-based work. But I guess we also kind of always want to make it like very sight specific, so we always rehearse within the installation, before it is opened to the audience. Then we change certain things within the choreography, within the text sometimes even, like depending on the specifics of this installation. And then finally, we also with- record a lot of video material during the rehearsals, that it is somehow- most often, it is used within the exhibition setting as well, so we kind of we really want to have this interaction, like really present in- on many different levels aside from the time of the- just this short time of when the space is activated by the performers.
