Perforamnes for «The Apartment Question» turned out to be obvious and simple. Thirty pieces of soap are laid out in a shuffleboard, adding water and ironing the soap with our hands. The hands work «autonomously» with the goal of becoming a spectator of the performance taking place, rather than a performer. The tactile effect and simplicity of the movements create a strange meditative state. Each spectator observes the action being one. Whoever is not ready to watch the action alone quickly leaves the room. The person left behind is engaged in a conversation whose leitmotif is the question, «Why are you doing this or what does it mean?» - the eternally irritating question of the artist in this context, when the viewer cannot address the surrounding audience, becomes comfortable and descriptive. We talk through what we are doing together and it turns out that the viewer sees the same thing that the artist sees and the question «what does it mean» falls away. There is nothing in this action other than what you see. There is nothing sacred, secret and at the same time superfluous. The grinding of the soap with your hands, the conversation and the complicity of the comer. The sign of the performance is actually its meaning. Today it is not the artist who is unique, but the spectator-controller with his interest and willingness to interpret that is unique. In Performance at Home, this is emphasized by the space reserved for the spectator. We go along with the viewer without denying his possible interpretation of the action. The confessional spirit comes from the need to recognize and analyze what is happening, because the action is already marked by the performance. I watch together with the spectator and my colleague in the group (Dmitry Petukhov) as my hands ride on the soap surface and realize that I can witness the mechanistic movements of my body as an outside observer. The 18 people who were participants in this performance made it possible to delineate its meaning, a meaning that cannot be equaled when repeating or attempting to artifact the objects of this action. And the only document of this action can only be the memories of the spectators involved. There is tactile vision, used to anticipate and enter the «present» - as a segment of time. This method of touch is almost the only tool for being here and now in a given segment of time. The difficulty of consciousness, unlike the body, lies in the permanent lag of thinking «what I did,» dreaming of the past even while doing work or reading a book, or the permanent looking ahead «what I will do» - dreaming of the future also while physically acting in the present, the Present: «what I am doing at this moment» finds itself most often vacant. This involuntary withdrawal from current time, draws a line between the viewer and the artist, preventing them from finding themselves in a unified time. And one of the tools for entering the «present» is tactile sensation plus action, where the controller of the «present» is the neighbor - the beholder. Semyon Motolyanets