I made this 3-channel video animation, Delete, in China, in Kunming. It is a re-enactment project, almost a rite, in which painful memories are erased or reinterpreted during the re-enactment in an emotionally supportive environment. I grew up in an interesting household of an intellectual family in the communist Hungary in a self-sufficient homestead in my grandfather’s garden due to the lack of work and money. My family was an enemy of the state, therefore excluded from the society and my father and grandfather were under constant close surveillance by the secret police. I left Hungary in 1990 and since then lived in several countries before moving to Belgium, the longest being over a year in China, where I taught video art history at the Yunnan Art Institute. Therefore, the “intercultural dialogue” is not a theoretical construct for me, - even though being Eastern European in a Western culture is only a “close otherness.” - but a fundamental emotional desire, to find intimacy that connects me to a community, to find intimacy that I could not feel in the place where I grew up, due to political the reason mentioned above. The same desire shapes my life wherever I am. That is why I founded Streetview Anderlecht, a non-profit showroom in 2018, where help mainly young artists from all over the world to present their work. The video was based on an 8-millimeter family film from 1970s, which was made in an emotionally intense stressful situation at a Christmas family gathering. I printed out some frames from the film and asked my friends and university colleagues to act out the scenes in their own interpretation. I had already lived with hese people for months, ate together, worked together, we knew each other's loves, sorrows and desires, so we had a very personal relationship. It was dramatic and at the same time deeply touching for me, the way my friends interpreted the scenes that evoked depressing memories for me. It was one of the most profound artistic and personal collaborations in my life. Although, I did some similar based work in Korea, Seoul (Bilocation), and another video animation with scenes that processed old Hungarian 8mm footage, as well as scenes shot in China and Belgium (Shapes). In recent years, I have given lectures and written about my experiences related to foreignness and otherness in many places: academia-josefa.org/post/marianne-csaky-on-the-cultural-nomad This topic also excites me in a broader sense. How will the generations coming after ours remember us – maybe already on another planet? How will all this be remembered in a world from where the Earth’s history can be observed not solely from the point of view of humans but also of all living creatures, animals, plants, and even of rocks and of the entire eco-system? Will they inherit our traumas, the consequences of all we did, still carrying them when the concrete faces and figures have long faded away and turned into silhouettes?