SIM is working with the idea of collecting fragments and assemble them together. They do not see they “works” as completed “works”, but as fragments of a process. The idea that each fragment develops from other fragments or refers to them is one of SIMs principles. SIM embarks on a search for enduring fragments and memories (both individual and collective) and their relationship to present-day. This leads to the question who owns this memory and how much sovereignty can be claimed over it which SIM works through again and again. The daily life is the basis of SIMs artistic exploration and they attempt to not make art for people, they make art because of people. SIMs fragments get the impression as if they has torn out all the pages from their diary and rearranged them to present a multimedia spatial collage that not only painstakingly and loudly works its way through personal memory, but also raises fundamental questions, which are mediated through references from subculture and pop culture. We come across a number of excerpts from music and literature which contribute to the narrative of memory and are interwoven with their personal artistic practice, accompanying the exhibition objects. While these fragments come from an earlier stage of their practice, SIM is currently working more with sculpture and installation.