Eucalypt Story (N07a7-01) (2024)

Single/multi channel video
Hiroshima, surviving tree #N07a7-01
Sound by Ruben Samama
Dialogue text from “Tokyo Story” (1953), screenplay by Yasujiro Ozu and Kogo Noda
Duration 136min


The Classroom Floor (2023)

Duration approx. 3hrs 45 mins

Wood, terrazzo tiles, build plans

Duration 01:08:22


Video stills

Performance stills

Pon Pon (2022)

 Polyester rope, cotton rope, polypropylene rope, wood 
 205x75cm, 75kg 

Zero (2021-)

 Ongoing series 

 Pigment ink, paper, blockwood panel, washi 

Zero.VI (2021)
Zero.IX (2021)
Zero.IV (2021)
Zero.III (2021)
Zero.II (2021)
Zero.X (2021)
Zero.VIII (2021)
Zero.VII (2021)
Zero.V (2021)
Zero.XI (2021)
Zero.I (2021)

There is Nothing Here (2021)

Single channel 4K video loop, no sound 
Duration 2:11:41 // 4:12 
Dimensions variable 


Vessel Nº1 (2021)

White Aalborg cement, white marble powder, sand
110 x 110 x 139,8 cm

Gavin (2020)

Pigment ink print on paper, varnish, washi tape, blockwood panel
475x315x10 mm 

ARC 531297 / U.S. National Archives and Records Administration / Public Domain

The Blue Skies Project (2018)

The Blue Skies Project are two artworks in dialogue:

One Thousand and Seventy-eight Blue Skies (2018)
The Tracking of One Thousand and Seventy-eight Blue Skies (2018)
by Ruben Samama

The Blue Skies Project became part of the Victoria & Albert Museum permanent collection in 2022, thanks to a generous donation by Anne Carlier and Dirk Spillebeen. The two works are joined by connected works such as There is Nothing Here (2021), Zero (2021) and Two Hundred and Sixty-nine Steps, Looking up (2017), as well as independent platform initiatives in a combined long term effort.

The Blue Skies Project is curated by Monica Allende


Peel-apart instant film mounted on aluminium sandwich panel, wood. Datasheet
Installation dimensions variable (676 x 253 x 85 cm)
Generative audio piece with visual component, duration 4775 days


    • V&A Victoria and Albert Museum, London, UK
    • ICP International Center for Photography, New York City, US
    • FoMu FotoMuseum Antwerp, BE
    • Collection Vanmoerkerke, Ostend, BE

Research sources

    • Encyclopedia of Camps and Ghettos, 1933-1945, published by Indiana University Press & United States Holocaust Memorial Museum –
    • Der Ort des Terrors. Geschichte der nationalsozialistischen Konzentrationslager, Wolfgang Benz/Barbara Distel, published by C.H.Beck (9 volumes)
    • Bundesministerium der Justiz und für Verbraucherschutz, Sechste Verordnung zur Durchführung des Bundesentschädigungsgesetzes (6. DV-BEG); Anlage zu § 1 Verzeichnis der Konzentrationslager und ihrer Außenkommandos gemäß § 42 Abs. 2 B


    • Ulrich Baer, Spectral Evidence - the photography of Trauma, The MIT Press (2012)
    • Otto Dov Kulka, Landscapes of the Metropolis of Death, Allen Lane (2013)
    • Eva Hoffman, After Such Knowledge, Vintage (2005)
    • Susan Sontag, Regarding the Pain of Others, Penguin (2003)
    • Mark Godfrey, Abstraction and the Holocaust, Yale University Press (2007)
    • Georges Perec, W or the memory of childhood, Vintage (2011)
    • Eyal Weizman, Forensic Architecture, Zone Books (2017)
    • W.G. Sebald, On the Natural History of Destruction, Penguin Books (2003)
    • Judith Butler, Frames of War - When is Life Grievable
    • Primo Levi, The Drowned and the Saved, Abacus (1986)
    • Geoff Dyer, The Missing of the Somme, Canongate Books (1994)
    • Hannah Arendt, Eichmann in Jerusalem, Penguin Books (1977)
    • Giorgio Agamben, Homo Sacer - Sovereign Power and Bare Life, Stanford University Press (1998)
    • Robert Hariman, No Caption Needed, University of Chicago Press (2007)
    • Timothy Snyder, Bloodlands - Europe Between Hitler and Stalin, Vintage (2010)
    • Judith Butler, Precarious Life, Verso (2006)
    • Susie Linfield, The Cruel Radiance, University of Chicago Press (2010)
    • Ariella Azoulay, The Civil Contract of Photography, Zone Books (2008)
    • Giorgio Agamben, Remnants of Auschwitz, Zone Books (1999)



Supported by

Seven Stations of F.M.I.R. (B.N.) (2019)

Archival pigment print on photographic paper, marble dust, charcoal, washi, pvc panel, wood. 

 Dimensions 50,8x76,2cm (20x30”) and 114,3x76,2cm (45x30”) 

 Seven Stations of F.M.I.R. (B.N.) - I 
 Seven Stations of F.M.I.R. (B.N.) - II 
 Seven Stations of F.M.I.R. (B.N.) - III 
 Seven Stations of F.M.I.R. (B.N.) - IV 
 Seven Stations of F.M.I.R. (B.N.) - V 
 Seven Stations of F.M.I.R. (B.N.) - VI 
 Seven Stations of F.M.I.R. (B.N.) - VII 

Two Hundred and Sixty-nine Steps, Looking Up (2017)

Sequential image loop, 4K (16:9), no sound 
Vertical projection, duration 269 seconds 
Dimensions variable