“I dance for the washing machine and for you because I do not remember any of our conversations. I don’t even know if there were any. People say that you loved me. But I don’t remember nor being together with you, nor your voice, or your touches. I only have old photos. I look at them, I see your sad face, and I keep reminiscing the only memory of you. And I am getting scared, because maybe the things that I remember never even happened. Therefore, I dance. I dance for you. Because we will never get to talk again, but maybe we can still dance together.”
 “What is the first memory of your mother?” – such a banal question, but for some it is an unknown. In this world where mothers are either goddesses or monsters from hell, not having any picture of a mother at all is hard to imagine. How does one put it together? Is it needed at all? How does one live without a portrait of their mother?
 In 2018, choreographer and dancer Greta Grinevičiūtė started a triptych with the performance “Dance for a vacuum cleaner and a father”. Now she is presenting the second part, which continues to analyze the family bond. G. Grinevičiūtė collaborates with contemporary dance creator and performer, lecturer Andrius Katinas, who in this performance appears in videos made in Helsinki or as a voice in a phone call. Their collaboration at the time of the first quarantine not only kept the idea of this work alive but brought a new form to it that also echoes with Greta’s relationship with her father.