In the last, let's say, 10, 15 years, social practices have taken a center stage in artistic practice. And the [INAUDIBLE] also reflects our times, where the insecurity, the kind of constant state of lack of safety, so to speak, and the globalization, basically, that, I mean, we have access to everything instantly. And we have some sort of knowledge on everything instantly.

And this mix of access and, you know, exposure to what is happening in the world in real-time demands another set of engagement, another set of translation, another set of interpreting, and another set of processing all of that that makes the transdisciplinarity, as itself, more kind of accessible and even is necessary. Because you cannot stay in a painting bubble, anymore, so to speak, if I may put it in that kind of cliche or caricature.

So and I think it is fundamental to any artistic cultural activity to draw from different registers. Because this is what informs your thinking, your practice, what you do, and to, also, apply all this knowledge in the way that makes it truly, I don't want to say, global, but covering as many perspectives as possible.