This exchange turned out to be not only about the actual physical exchange of art works but also exchnage of our life conditions. It has become a lot about restriction, protection and fear. 

For example, the concept of anonymity that was borrowed from the Krits group and then presented to the grannies, and a dicussion followed as we made masks to hide our own identity. 

The project has received some obstacles from the other organisations involved. After the first workshop in the old folks home, the director if the home emailed and decided to withdraw from the project. She had said that based on the reflection of both the nurse, who had supervised the workshop, and the participants, the subject of war, as well as the issue of common language have become an issue. 

Invlovement of different levels of authority has politicised the project beyond the intended concept. Decision making from the collaborating sides has been based on the ideas of protection, sensorship and neutrality. 

Expectations and representations. 

Sharing personal experience has been seen as a 

A challenging experience comes from being an artist who produces such project within a framework of a funded international art residency. 

Success is not something that is measured in a traditional way here. Artists ego at this point is something that one has to give up completely. 

Working with social care professionals and their clients, I have been given advice (which I did not take) as to pretend that the art projects I did, were, in fact, tasks for uiversity studies. People in various groups have asked me if I was a student, and if the project was something I did, in a way, because I was obliged to do by a higher authority, such as my proffessor. A response that this is, in fact, a job which I get paid to do, was not met with enthusiasm. It has seemed at times that if someone pays for this, there must be an entertainment or an art therapy aspect in the work.