Mira M. Yang (b. 1993, Germany) works across time-based and site-specific practices, moving image, and cross-media installations. Her work explores fictional spaces and storytelling as ways to give form to social structures, collective memory, and shifting narratives shaped through the play of identities, examining how power and dissent circulate through objects and collective performance.

In “rain real soon” (2024), the artist brings together instruments and objects collected during a stay in Paris, setting them into motion and activating them anew. They resonate, jingle, and vibrate through small motors, some adapted from Magic Wands (vibrators). These tools of dissent, plesure, or ecstasy slip into disarray, forming a concert of automated pulsations performed by the sculptures themselves, evoking the power of traditional Korean pungmul percussion—rooted in folklore, shamanic ritual, and collective practice, and historically tied to protest, where even carrying a kkwaenggwari could signal dissent and risk arrest during the 1980s student uprisings in Gwangju.