Catalogue > Search

Something New Under the Sun is the first narrative film by artist Gavin Murphy, and was the result of exhaustive research carried out over a 3-year period. It takes as its subject the IMCO building (a demolished modernist factory) and the lost work of its chief designer Oliver P. Bernard. The IMCO building was during its brief existence, a major landmark on Dublin’s south coast, yet it is all but forgotten today, and entirely undocumented. Similarly much of Bernard’s work has been demolished or replaced. In the film, anachronic image sequences are interleaved with intertextual narration, drawn from a multitude of sources, viewpoints and timeframes: Bernard’s life and work (including his dramatic survival of the sinking of the Luisitania in 1915); IMCO’s owners and various phases of the building and its demolition; the discovery of dry-cleaning; and the words of Henri de Saint-Simon, Blaise Pascal, and American author Lewis Mumford on time and the notion of ‘being out of date’. The film notes the parallel fates of the building’s architecture and the dry-cleaning machinery it housed – becoming technologically and stylistically obsolete – and the symbolic necessity of razing the present to make way for the future.

Gavin Murphy is a Dublin-based artist and curator. His research-based practice encompasses assemblage, writing, still photography and moving image, with an interest in the sculptural possibilities of cinematic structures and mise en scène. Murphy’s work has been exhibited in Irish Museum of Modern Art (Project Space), 2014; Dublin City Gallery The Hugh Lane, 2014; BOZAR, Center for Fine Arts, Brussels, 2013; Royal Hibernian Academy, Dublin, 2012; Conical, Melbourne, 2009; and Colony, Birmingham, 2007. A monograph/research study, On Seeing Only Totally New Things, was published in 2013. His recent exhibition for the Sleepwalkers series at Dublin City Gallery is to be featured in an accompanying book published by Ridinghouse UK, to include texts by Chantal Mouffe, and Simon Critchley. He is the recipient of various Arts Council awards, and residencies at Fire Station Artists’ Studios, Dublin; Gertrude Contemporary Art Spaces, Melbourne; and he is co-director/curator of the artist-run space, Pallas Projects/Studios. Curated projects include the first solo exhibition of the British artist/filmmaker John Smith in Ireland (The world seems a long way away, Pallas Projects, Dublin, 2011); and he was co-curator/producer of Darklight Compendium Vol. 1– the first Irish-produced DVD collection of experimental shorts, animation and artists’ film (2007).

Various reels of found 35mm movie film are pulled over a light box under the fixed gaze of video capture. Through veils of apparent motion, the movements of characters can be discerned and their motivations artfully speculated upon. An oblique tribute to Pere Portabella`s Vampir-Cuadecuc, narrative and plot in Untitled (time) are progressively subsumed in a switching and swaying abstraction to percussion rhythms crashed out on cymbals.

Julie Murray was born in Ireland and lives in the US. Her work has been included in many festivals including the New York Film Festival, Images, Rotterdam International Film Festival, and has been exhibited at the Whitney Biennial and more recently at Irish Film Institute/ AEMI Dublin. Her films are in the Academy of Motion Picture Arts and Sciences Film Archive, LA The Museum of Modern Art`s Film Archives, NY as well as the Whitney Museum of American Art. Prints of her 16mm films are also to be found in the Public Library`s Special Collections, New York. She likes this fact. Murray`s early super-8 films were selected for a National Film Preservation Foundation Award in 2014.

Untitled (earth)is a digital montage of found film material examined over a lightbox. Hazy figures in smudged pink and gold landscapes are pulled past the video lens unraveling the film image. A cinematic experience is reassembled in stop/start motion falling in and out of sync with the video frame rate. Ruined image detail in rhythmic incantation taps a remembrance of familiar forms in the brightly patterned tropes of cinema.

Born in Ireland and living in the US, Murray draws upon her background in art studies and practice to make moving image works in a range of experimental forms. Her films and videos have screened widely and her work is in a number of library and special collections. She is currently teaching at the University of Iowa.

"Beach Time" is inspired by a daily routine that was recorded from the fact that everyone can see. This work will challenge at least two different points of view. First, seen and understood from a modernist perspective, the appearance of swimming women who are wearing veils on a beach would be considered 'not functional' as they should have worn more efficient and practical swimsuits. Meanwhile, the beach is actually a public space that should consider public interest. For the swimming women, wearing veils while swimming is not at all a problem in enjoying the beach. Moreover, swimming at a beach is a new tradition for them. It seems that they translate the swimming habit with their own tradition, namely 'kungkum' (to inundate someone's body in water), which is indeed more spiritual.

The Lighting aims to revisit and clarify the issue of discrimination rooted in technological development and image production through an interdisciplinary exploration. The work comprises three narratives—three professional Togolese photographers explore how to use instruments to compensate for insufficient exposure for dark skin tones; a leading software engineer developing facial recognition algorithms at Taiwan’s MediaTek talks about how they have created a camera algorithm that is highly popular on the African continent; moreover, the artist uses Kodak’s Ektachrome, a popular film in the 70s, to produce a kung fu film in the style of exploitation film, using images of the famous Black martial art film star, Jim Kelly, in Bruce Lee’s movies in the 70s. The work is also interlaced with an animated Bruce Lee as the narrator trained by facial motion capture and a speech recognition algorithm.

Musquiqui Chihying is a filmmaker and visual artist based in Taipei and Berlin. He explores the cultural and social identities constructed through the flow and circulation of audiovisual elements in physical and virtual spacetime. Specialising in the use of multimedia such as film and sound, he investigates the human condition and environmental system in the age of global capitalisation and engages in the inquiry of and research on issues of subjectivity in contemporary social culture in the Global South. His works have been shown in several international institutions and film festivals, such as 72nd Berlinale (2022), Art Sonje Center in Seoul (2021), Centre Pompidou in Paris (2020), International Film Festival Rotterdam (2020), 2016 Taipei Biennial, 10th Shanghai Biennale (2014) etc. He is shortlisted for the 2019 Berlin Art Prize and the winner of the Loop Barcelona Video Art Production Award 2019 from Han Nefkens Foundation in collaboration with the Fundació Joan Miró. He is a member of the Taiwanese art group Fuxinghen Studio, and the founder of the Research Lab of Image and Sound.

According to the French poststructuralist philosopher Jean Baudrillard, everyday life unfolds in a system of signs, a "car" for example implies "driving pleasure", "progress", or "independence". Baudrillard plays with the re-articulation of theories of structural linguistics and semiotics - terms such as signifier and signified, coined by the Swiss linguist Ferdinand de Saussure. Following this approach, one can examine how the aircraft as an object or signifier has undertaken various shifts in meaning since its invention. Once it stood for technical progress and the latest evolutionary step in military technology - and technology per se meant military superiority in a post-industrial era marked by enthusiastic nationalism - then, since about the 70s (a date chosen knowingly arbitrarily), the airplane has been increasingly considered as an object which can be instrumentalised for terroristic activities with relative ease. Cheap flight deals offered by discount air lines, a development that began approximately in the 90ies, have made distances appear smaller and smaller (already before the plane has been co-symbol for globalisation), and in addition stripped "traveling by air" of its hitherto semi-luxurious connotation (the once fashionable term "Jet Set" now appears rather outdated). Finally, the aircraft has become a symbol for the rapidly progressing depletion of fossil fuels - natural resources that were created over geological time frames, now to be extracted in a crescendo of global consumption: the object plane has turned into one of the motors of man-made climate change, and the frequent traveler is confronted with the term "carbon footprint". For the subject or individual an aircraft offers the possibility of rapidly overcoming distances, in return for subjecting oneself to being "locked up" for a certain period - subjugating any sense of individual autonomy to total confidence in technology and the crew operating the aircraft (this can be seen as one of the reasons why the suicide of the German-Wing pilot in 2015 became such a collective traumatic experience). The video piece "Footnote #03: Gold & Clouds" aims to be a meditative reflection on the object "aircraft". It has been conceived during a stay at the Saari Residence in Mynämäki, Southwest Finland, and finalised during a residency at the Brno House of the Arts.

David Muth is an artist, musician and programmer. Having grown up in Salzburg, Austria, he relocated to the UK to study at Middlesex University, where he received an MA in Digital Arts. He currently lives and works in London, Vienna and Turku. His artistic practice combines conceptual and experimental approaches and is informed by his background in architecture. His projects range from installations and responsive environments, through video and photography, to composition and performance of music. Muth's work has been shown on numerous occasions internationally, with venues and events including the Musée d'Art Contemporain in Montreal, the Kiasma Museum of Modern Art in Helsinki, Ars Electronica in Linz, Le Cube in Paris, Laboral in Gijón, the Museo Reina Sofía in Madrid and the Museum of Modern Art Salzburg. Institutions he has taught at include Ravensbourne University of London and the Royal College of Art, and he currently lectures at Goldsmiths University of London.

An unnamed event starts; continues; has vague highlights; and quickly ends. The video documents this self-referential and explicit happening as an array of random cuts between random space and time orders. Layers of affirmation follow layers of affirmation. It is almost what it is: a workable portrait of an event.

Peter Müller has studied Visual Communication/Fine Arts. Consecutively, he held positions as visiting scholar and artistic researcher. At the moment he is scholarly and artistically pursuing a doctorate. His works, collaborations and projects deal with questions of narration, representation, creation of presence, as well with questions on modes of mass media realism and circles of production.

Time and again, the feature film places animal actors at the side of its human protagonists – sometimes as loyal companions, sometimes as fierce opponents. However, its stagings do not only instrumentalise animals to release emotions, but also raise a fundamental question of our anthropocentric self-image: how to deal with the experience of the otherness of the animal?

Christoph Girardet, born in 1966, and Matthias Mu?ller, born in 1961, have been collaborating in film, video, photography, and installation since 1999. They had solo exhibitions at institutions such as FACT, Liverpool, Kunstverein Hannover and West, The Hague. They have participated in group shows at the Palais de Tokyo, Paris, Hirshhorn Museum, Washington, and Eye Filmmuseum, Amsterdam, among others. Both have taken part in major film festivals worldwide, including the festivals at Cannes, Venice, Berlin, Toronto, Locarno, Oberhausen and Rotterdam. Their work is included in several public and private collections.

Kristall développe un mélodrame dans des cabinets aux miroirs qui éveillent un sentiment de claustrophobie. Tel un observateur anonyme, le miroir observe des scènes d?intimité. Il génère une image dans l?image qui donne un cadre aux personnages. En même temps il laisse apparaître celles-ci en désaccord avec elles-mêmes et brisées de diverses manières. L?instrument de l?auto-vérification et de la mise en scène narcissique devient un puissant antagoniste qui multiplie par deux le sentiment de fragilité, de doute et de perte.

Christophe Girardet was born in 1966 in Lagenhagen, Germany, and studied in Braunschweig. He has been working in the fields of video, cinema and installations since 1987. Matthias Müller was born in 1961 in Bielefeld, Germany, and studied in Bielefeld and Brunswick. He has been working as a movie theater director, video artist, photographer and independent art curator since 1981. He was also teaching at the Art and Audiovisual media Academy of Cologne.

In Cyrk we meet the Circus Arnardo and the people who work there. The film stylises the life of the circus and its main character. Through the interplay of fact and fiction, the film investigates the tricks and devices used in our various forms of media and our different ways of perceiving the world. Cyrk wishes to challenge our need to understand and find meaning in the things we are asked to take on trust. Exploring the relationship between subjectivity and objectivity, between body and mind, the film conveys both the physical and the emotive aspects of the main character’s story of grief and loss. Thematically, it revolves around the fear of meaninglessness as a human disposition, which we confront by seeking structure in the ideas of religion, ideology and culture. It also raises questions about the way this search for meaning, order and system – on both the private and the social level – can lead to the categorisation and stigmatisation of certain groups and individuals.

Jorunn Myklebust Syversen (b. 1978) graduated from Bergen National Academy of Art and Design in 2005. She lives in Oslo and is working in the field of film and videoart. She has participated in numerous international festivals, screenings and exhibitions and has received several national grants.

La vidéo "Violent Sorrow Seems a Modern Ecstasy" est faite de différentes pièces de Shakespeare transformées en un nouveau manuscrit. Syversen prit des phrases de Macbeth, Othello, Roméo et Juliette et Hamlet, les entrecoupa et les reforma en un nouveau drame. Toutes les référence à des noms ou au temps ont été enlevées. Pas de mots ont été changés ni rajoutés au script à part la grammaire pour obtenir une structure logique et de la cohérence. La nouvelle histoire est un dialogue entre deux jeunes hommes sans noms. X est suicidaire, Y essaye de démontrer à X que la vie vaut la peine d'être vécue. X ne peut le surmonter et décide de soulager son ami de la vie et donc le tue. Après il se plante un couteau dans son propre c?ur et meurt. Le compositeur Jan Erik Mikalsen écrit la musique pour la vidéo.

Jorunn Myklebust Syversen est née à Gol, Norvège en 1978. Elle a étudie à la Bergen National Academy of Arts et finit en 2005. Elle vie à Oslo et travail dans le milieu de l'expérimentation vidéo, photographie, et installations. Elle a participé à de nombreux festivals de films et expositions de groupe et a reçu plusieurs bourses nationales. L'année dernière ses travaux furent montrés a Paris Photo, au Louvre, Paris. Ensemble avec des artistes comme Eija-Liisa Ahtila, Johanna Billing et Miriam Bäckström, elle fût présentée à Malmo, Berlin, New York avec le projet UNCLASSIFIABLE. Elle a participé, produit et monté la vidéo projection de "Behind the Scene" au Frogner Kino à Oslo tout en présentant d'autres artistes tels que Miriam Bäckström, Per Teljer, Tova Mozard et Ane Lan.

Insignificant within the immensity of a snowy landscape, a handful of men oppose their physical resistance to the force of nature. United, close together, they tackle the hostility surrounding them by way of a strangely choreographed, hesitant ballet. A visual poem of furious beauty, Despair depicts the mechanisms of a world governed by crows.

Since 1993 Galina Myznikova and Sergey Provorov have created a large number of projects, which demonstrate a wide range of the artists` interests and their inclination to creative experiments in sphere cinema and of contemporary art. Among them there are experimental films which took part in numerous international festivals around the world (such as Rotterdam, Oberhausen, Clermont-Ferrand, Milan, Hamburg, Montreal, Moscow, Pesaro. Sao Paulo and others). Many of films have won several awards (including Tiger Award for Short Film of 38th International Film Festival Rotterdam and Gran Premio of Asolo International Art Film Festival ); and belong to the museum collections; a number of installations created as joint international projects and presented at some Biennale (such as Moscow Biennale of Contemporary Art /Moscow/, The young artist`s Biennial/Bucharest/, KunstFilmBiennale/Cologne/, Biennial of Moving Images/Geneva/. In 2005, Myznikova and Provorov /PROVMYZA/ represented Russia with innovative project ?Idiot Wind? at 51st Venice Biennial. In 2007 they became nominees of Main National Premiums of Contemporary Art ?Innovation? and ?Kandinsky Award?.

In this docu-fictional work, ‘Ocean Master’ a container vessel is anthropomorphized, and enters into a dialogue with several workers at the Gadani yards. The conversation moves between dreams and desire, places that can be called home, and the structural violence embedded in the act of dismembering a ship at Gadani. As the workers recall the homes and families they left behind, the long work days mesh indistinguishably into one another, the desperation that they carry with them like shackles rises to the forefront, and they are forced to confront the realities of their work in which they are faced with death every day. How may they survive and look towards the future?

Hira Nabi is a filmmaker and visual artist, based in Pakistan. Her work thinks through the value associated with labor, networked industrial practices, botanical migrations and their impact upon cultural identities, and notions of homemaking. She lives and works in Pakistan.

Framed by poet Robert Lax` sculptural texts, skin of the cit-y wanders through mills and factories surrendering to the elements, deteriorating in solidarity with the isolated Maritime cities that erode beside them. Contact printed in-camera, the film material stares back, layers view-planes and duration while dreaming in light....

Nagler’s films have been featured in Retrospectives at the Winnipeg Cinematheque, Excentris Cinema in Montreal, the Festival de le Cinéma Different in Paris, The Calgary Society of Independent Filmmakers, The Canadian Film Institute in Ottawa, Robert Heald Gallery in Wellington, New Zealand, The Artist Film Workshop in Melbourne, Australia and the Cinematheque Quebecoise. His work also includes 16mm celluloid installations that engage with experimental architecture in galleries and public space. These works have been exhibited at the Toronto International Film Festival, 8-11 Gallery (Toronto), Artspace Gallery (Sydney, Australia), Send and Receive Festival of Sound (Winnipeg) and The Halifax Independent Filmmakers’ Festival. Originally from Winnipeg, Solomon Nagler is co-founder of WNDX: Festival of the Moving Image in Winnipeg and currently lives in Halifax where he is a professor of film production at NSCAD University.

The work is an attempt to portray a society through damaged videos and images, a lot can be understood of a person by knowing what he or she throws away in a dustbin, various videos images, and audio come together to create an experience that is like going through the contains of a DUSTBIN.

Parashar Naik is a a visual artist living in the suburbs of Bombay, in a city that predated Bombay - Vasai. He completed his GD arts from Vasai Vikasini School of Visual Arts. He also is a professional film editor and his art practice mainly consists of the interpretation of his surroundings. He works in various media from drawings, assemblages, kinetic sculpture to videos. He has worked on various projects collaborating with the Jharkhand government, P.S.B.T and various other banners within Bollywood. His short films and videos have been selected and screened in various national and international platforms. Working as a collaborator with Clark house initiative for almost three years now, he has contributed in the show Bunting, Guadeloupe Oriental, Home videos and edited the series of videos for Gondwana Series at the Centre Pompidou in 2017. He curated a group show of 23 artists at Clark House titled Narcissism and Social Interaction, 2017. Biography written by- The Showroom https://www.theshowroom.org/relationships/parashar-naik

Ants and a crow in this work symbolize intermediaries between a big man, a small man, and a pregnant girl. It projects complexities of life and death in this living world. Through phantasmagoria, it reverses an ordinary image of life and death, and questions its human-centric view.

Nakamura Tomomichi (Male) Nationality: Japanese Birth: Jan. 10 1972

It consists of a video footage of a socializing event for people and their dogs in the central park in New York City and the voice over. The event includes activities such as the Best in Park dog show, games, contests, and agility tests, etc. The voice over is not directly related to the event itself, but written based on a conversation between two artists dealing with photography. The artists have photographed hunting scene, and they are looking at their pictures of dead animals. This work investigates how we relate to animal, and questions our industrialized world surrounded by animal imagery.

Born in Japan and based in the Netherlands since 1994, Mayumi graduated from Gerrit Rietveld Acadmy in 1999. She is an alumna of residency programs such as Rijksakademie van Beeldende Kunsten in Amsterdam (2000-2001), Location One in New York (2005-2006). Exhibitions/presentations include: Jamaica Center for Arts and learning in NY, Macy Art Gallery Colombia University New York/Art Basel Miami Verge Fair, Kunstpavilion Zagreb Croatia, Stedelijk Modern Art Museum Amsterdam, The Netherlands Institute for Media Art, and Viper International Film Video and New Media Festival, Basel. She has received awards and grants including the Japanese government overseas study program, Fonds bkvb NL, Rene Coelho Prize from Netherlands Institute for Media Art Amsterdam, among others.

Inspired by the art critic John Berger`s essay `Seker Ahmet and the forest` (1979), the work deals with the subject of memory. The structure of the film is episodic, each scene is repeatedly interrupted by another in a disorienting manner. It explores a notion of fragmented narrative within a cinematic context. Relating to the issue of `the building of the Burma-Siam railway` during WWII, the story mixes with reality and fiction, documents and illusions where past and present co- exist. The film consists of a sequence of different visual materials; a painting, drawings, archive photographs, scenes with actors and animals.These various textures are combined in the timeline, observed and interpret the subject and its memory, as well as questioning the sense of time/space.

Mayumi Nakazaki is a Japanese visual artist, based in Amsterdam. She studied audio-visual at the Gerrit Rietveld Acadmy in Amsterdam. Her graduation work has been awarded the Rene Coelho Prize van Nedrland Instituut voor Mediakunst in 1999. This work has been exhibited and screened in vaious places such as; Stedekijk Museum Amsterdam, Nederlands Film Festival, Filmmuseum Amsterdam. The following year, she worked as a writer/director in the program De Achtbaan, Avro t.v, which 20 min. drama ?O, vader!? was produced. During 2000-2001, she was a participant at Rijksakademie van Beeldende Kunsten in Amsterdam. Her short film ?Sukiyaki - a conversation piece(2005)? has been presented such as; at experimental documentary section of `Paradocs`; International Film Festival IDFA Amsterdam in 2005, Berlinale talentcampus section `home affair` in 2007. In 2005, she was invited to participate in a media art residency program `Location One` in New York for 9 months, supported by Mondiraan Fonds. And from 2008-2009, she has been working in New York with the subsidy Bunkacho; Arts and cultural affairs, the Japanese government overseas research study program for artists. ?hunt hunter hunter (2009)? was a result of this one year project and the work has been shown at Jamaica Arts Center New York, Rencontres Internationales Paris/Berlin/Madrid, Macy Art gallery Colombia University New York, etc. Her recent work ?Chapter 2- the field trip(2011)? is distributed by EYE film Institute Amsterdam. She is working currently working on a feature film script, developed at Binger Filmlab in Amsterdam.

Les répétitions de théâtre sont généralement un procédé strictement clos et intime. C?est le soir de la première que l?on remarque le résultat d?un travail rigoureux qui a eu lieu pendant des semaines, où, dans le meilleur des cas, le spectateur se laisse envoûter. Mais que se passe-t-il lors d?une répétition? Que fait le metteur en scène? Comment travaille-t-il avec les comédiens? C?est la première fois, depuis 16 ans, que le metteur en scène Peter Zadek autorise à filmer pendant ses répétitions. Il nous montre ainsi sa démarche de travail avec les comédiens et donne aux spectateurs un aperçu peu commun sur ce qui se passe derrière les coulisses d?un art qui est, depuis des décennies, influencé par lui. Le film est un regard très direct dans le monde intime d?une répétition de théâtre, dans lequel Peter Zadek travaille avec ses acteurs sur la mise en scène de Peer Gynt et, accompagne ce processus, parfois dramatique, jusqu`à la première. Il n`y a pas d`interviews qui expliquent la manière de travailler de Peter Zadek. Seule un regard direct sur la situation entre le metteur en scène et les comédiens nous le montre. Cela donne ainsi au spectateur la possibilité de comprendre par lui-même ce processus de travail dont il est témoin.

Alexander Nanau est né le 18 mai 1979 à Bucarest. En 1990, il a immigré avec ses parents en Allemagne. Il passe son baccalauréat en 1999. De 1997-2000, il est comédien dans un groupe de théâtre alternatif à Brunswick. Depuis 1999 il a travaillé sur plusieurs films de cinéma en tant qu`assistant réalisateur et a réalisé des courts-métrages et des films documentaires. En 2002-2003 il est l`assistant de Peter Zadek au théâtre de Bourg et au théâtre national de Berlin. En 2003, il commence ses études à la Deutsche Film-und Fernsehakademie Berlin en section réalisation.

An easily overlooked T-junction in Copenhagen`s Sydhavn district is the location of a dramatic statue. In the midst of everyday urban space rises a bronze sculpture of a young man who is about to tame two unruly horses. The essay film ?Breaker of Horses? delves into the bronze sculpture and follows the hidden stories that are contained in the cast. This leads us back to the genesis of the sculpture in an antique Greek myth, to a Belgian Africa museum and deep into Europe`s colonial past. With formal nods to contemporary video artists such as Camille Henrot and Hito Steyerl, ?Breaker of Horses? is an overheated information flow of images, digital productions and archive material. The visual abundance is coloured by a soundtrack that alternately seethes with synthetic sound effects and detached bits of songs about the statue and its history. The film traces the copper material in the bronze sculpture back to the Congo, where extraction of copper through forced labour and slavelike conditions for the Congolese comprised one of the economical foundations for the Belgian King Leopold?s empire. Solidly placed in the era of today, ?Breaker of Horses? is a video work that turns to the past.

Nanna Rebekka is an independent filmmaker based in Copenhagen. Her work lies within the realm of hybrid fiction, documentary and video art. She has studied filmmaking at Center for Digital Arts and Experimental Media, University of Washington and at School of the Arts, Media, Performance & Design, York University. She is currently pursuing a masters degree in Visual Culture at University of Copenhagen. She is a former member of Copenhagen LGBTQ Film Festival. Pernille Lystlund Matzen (b. 1986) is an independent writer and filmmaker currently living in Copenhagen. Her work concentrates on new documentary forms, video art and essayistic modes of filmmaking. She holds a masters degree in Art History and Modern Culture from Columbia University, Universitat der Kunste, Berlin, and Copenhagen University. She currently works as an art critic at the Danish newspaper Information. Together, Nanna and Pernille have directed the short film `Breaker of Horses`.

Dans cette oeuvre, nous lançons cinq dès. Même si nous les jetons à n'importe quels moments, ils montrent les mêmes points. Ce qui amène à parfaitement dire que des centaines, des milliers d'échecs de miracles existent, c'est-à-dire "dans la vie de tous les jours". (En fait nous avons jeté les dès tous les jours pendant deux mois.)

Le duo d'artiste Japonais Mai Yamashita (né en 1976) et Naoto Kobayashi (né en 1974) travaille dans le domaine du multimédia. Tous deux ont étudié à l'Université Nationale de Musique et des Beaux-Arts de Tokyo (MFA). Depuis leur arrivée en Allemagne en 2004, ils travaillent et vivent en Europe. Ils ont participé à des expositions internationales majeures et à beaucoup de festivals (Philip Morris K.K Art Award 2002 "The first move", Forum In ternational de Tokyo , Japon / transmediale.06, Akademie der Künste, Berlin, Allemagne / ARS 06, Le Musée d'Art Contemporain KIASMA, Helsinki / LichtRouten Lüdenscheid, Lüdenscheid, Allemagne. etc.)