1. A performance where the artist embodies Krognoshuset, the exhibition space and building affiliated with AURA artist association in Lund. Jeuno Kim reenacts the first AURA association’s exhibition made after WWII in 1946. Visual material and research into AURA's archives from 1933-1948. What was the role of art and artist in society then that allowed the association to continue throughout WWII? How can an archival meditation help debate the same questions now? 2. A performance where the artist fails to make a work and speaks about the failure. The artist spent 3 months looking at the AURA artist association’s archive, with a specific focus on looking at the associations ledgers and expenditure between 1933-1948. There were three main expenses: 1)expenditure for the printing of exhibition cards 2) expenditure for stamps and courier service 3) expenditure for vernissage flowers. Extensive meeting minutes and protocol is stated in relation to how the sale of work by members is to be conducted, and how much the association will take as a percentage. There is some press in terms of “bad art” that is coming from Denmark, and how to avoid that influencing the artists in Skåne. But no other evidence can be found in the archives that pertain to how the association and its members are reacting to the greater socio-political context of the time. And why is so much money spent on vernissage bouquet when the association is going through financial austerity? What is the significance of artist associtions now? What lessons can be gleaned from looking at the archives? In regards to how the artists in Skåne have rallied around #metoo movement in the art-context, how can an archival meditation help debate some of the questions around the role of art and artist in society now? The artist adds another expenditure to the association’s ledger in 2018 by buying another bouquet of vernissage flowers in relation to the performance.