She is struggling on her skates, and we wonder; why did she choose to use these rolling shoes when she clearly isn't comfortable in them? And why is she going so fast? She falls, and we get an urge to help her. But before we get the chance to react she is up and rolling again. All around in the room, falling and up again. Even a tough meeting with the wall doesn't stop her. She struggles with her balance but manages to get into the centre of the room. There she finally stops. With her hands held up to find the balance we find her in a vulnerable situation. It has such a natural and intuitive atmosphere. Then she takes to her head and where her eyes should be. A thick fluid starts pouring out of one of her eyes and down the mask. The fluid is also tearing down inside the mask and on her dress. It is dripping. She stands like this for some time before she starts blowing up a balloon. We can hear that she struggles, it's almost like the fluid strangles her inside her mask. She shows us her vulnerability. She is there in front of us with all her struggles. Her breathing becomes faster. Finally, she succeeds to blow up the balloon. But instead of keeping the air within she punctures it. The sound is empowered by the space. Then she turns to her shoes, makes the wheals disappear and walks out with her head hold up high. With this performance we are under the impression that Ida shows us a will to continue, vulnerability and a struggle. We can relate to all of this. With her dress and rolling shoes it gives us a sense of nostalgia, of a passed memory. Wearing a mask that covers her face leaves us with her body. It can be anyone under there. It could be one of us. It's not just her memory, and maybe it's not even a real memory she is referring to, but while communicating it through her body it belongs to all of us. The feeling of unsafe ground, struggle and vulnerability. Andreas Pashias ÂŤ Vinaigrette Âť The artist enters the room; in front of him we see two white perfectly shaped squares. He starts to pore oil on one of the squares. When he has shaped a circle he starts with the balsamic vinaigrette. He looks at it as a painter that looks at his canvas and gives us time to think about his next step. He takes a piece of bread and starts slowly to make a circle with the dark color of the vinaigrette within the circle of oil. The movements becomes quicker and quicker.