The Masterpiece: The Art Of Failure

Lisa Le Feuvre
Introduction/ / Strive to Fail

Uncertainty and instability characterize these times. Nonetheless, success and progress endure as a condition to strive for, even though there is little faith in either. All individuals and societies know failure better than they might care to admit - failed romance, failed careers, failed politics, failed humanity, failed failures. Even if one sets out to fail , the possibility of success is never eradicated, and failure once again is ushered in.
In the realm of art, though, failure has a different currency. Failure, by definition, takes us beyond assumptions and what we think we know. Artists have long turned their attention to the unrealizability of the quest for perfection, or the
open-ended ness of experiment, using both dissatisfaction and error as means to rethink how we understand our place in the world. The inevitable gap between the intention and realization of an artwork makes failure impossible to avoid. This very condition of art-making makes failure central to the complexities of artistic practice and its resonance with the surrounding world. Through failure one has the potential to stumble on the unexpected - a strategy also, of course, used to different ends in the practice of scientists or business entrepreneurs. To strive to fail is to go against the socially normalized drive towards ever increasing success.
In Samuel Beckett's words: 'To be an artist is to fail as no other dare fail.')
This collection of writings investigates the ways that artists have used and abused the idea of failure across a number of definitions and modes of address, taking ajourney through four imperatives : dissatisfaction and rejection; idealism and doubt; error and incompetence; experiment and progress.
The first section, Dissatisfaction and Rejection, addresses claims on failure that arise through discontentment with and refusal of the way things are, whether in the artwork or the surrounding world. Failure is ever concerned with the artwork's place in the world and is tied to its twin, achievement - a relationship fed by distinctions, fears and opportunities. 2 The paradox of failure is that one cannot set out to fail, because the evaluation process of success - as measured by failure becomes irrelevant. For Beckett, embracing failure offered the possibility of refusing the primary drive of successful art in his time, expression - the concept of which he viewed as a misconstruction at the core of our reception of art.
Although this book focuses on failure in recent art, it has been the source of a productive and generative drive since at least the first stirrings of the modernist
era.
The Parisian Salon des Refuses of 1863, for example, was an exhibition of failures . At the time, the Salon was an ultimate site of artists' validation; in 1863

12/ / INTRODUCTION

the Academicians rejected around 3,000 works that they felt challenged the criteria and authority of the Academy of Fine Arts. The outcry at these exclusions, which included works by Whistler and Manet, led to an alternative exhibition of rejects alongside the official selection.3 Emile Zola included the event in his 1886 novel The Masterpiece, describing artists desperate to be removed from the official selection to the Salon des Refuses, as the 'failures' were far more relevant to their work than those approved by the academicians.4 For an artist to lace a • work into the world is to lose control. What does refusal mean? Who are the arbiters of taste? Failure here becomes a pivotal term, rejected by one group, embraced by another.
When failure is released from being a judgemental term, and success deemed overrated, the embrace of failure can become an act of bravery, of daring to go beyond normal practices and enter a realm of not-knowing. In 1953 Robert
Rauschenberg proposed to Willem de Kooning his Erased de /(ooning
Drawing.
Confronted with the younger artist's request de Kooning agreed, but he chose a work he considered the most difficult to perform the act of erasure on. It took around a month, and around fifteen different erasers, for the drawing to be pared back to almost-white in a gesture of removal that broke with conventional artmaking. Dieter Roth's experimental pushing of failure to its limits too enabled him to view the work of preceding artists from a new perspective. In the late
1950s he began to take the view 'that even Malevich's black square resulted from a feeling of failure. One always arrives at something one can no longer depict.'s
When the conventions of representation are no longer fit for purpose failure can open new possibilities.
As the texts on works by artists such as David Critchley in the 1970s and
Dominique Gonzalez-Foerster in the present make clear, one of the most crucial areas where we can identify the endemic presence of failure in art-making activity is in the gap between intention and realization. 6 In the video work De
Novo (2009), Gonzalez-Foerster ruminates on the ways in which any possible proposal, artistic or otherwise, is informed by the history and failures of all those that might have gone before. She describes her past ideas as 'black holes' that always seem unsatisfactory when realized. Critchley's work Pieces I Never Did likewise shows the artist talking to camera, where he describes eighteen propositions for artworks, taking in performance, film, video, installation and sculpture, each one never moving beyond notes in a sketchbook. Such is the process of wrestling with ideas: self-censorship often defines a cr.e.a.ti.v.u.ct..as a failure before it has been released into the unpredictable realm of the public.
In 2010 the artist Michael Landy filled the South London Gallery with a dumpster-shaped vitrine measuring 600 cubic metres, forming out of polycarbonate and steel a waste container for artworks. Anyone rightfully owning

Le Feuvre//Strive to Fail// 13

",,,-,

a work of art could apply to use the disposal facility, with successful applicants approved by Landy in a process that validated self-declared failures. On acceptance, works were logged into an inventory, with provenance and details noted, and then either immediately thrown in by their owners or carefully stored by whitegloved art handlers to be disposed of later. Landy declared this sculpture a
'monument to creative failure' In his autobiographical memoir Hand to Mouth: A
Chronicle of Early Failures (1997), the writer Paul Auster recall~one ofthe ruses he cklLi ed to avoid deciding what to write: he dreamtup a literary_prize for selfnominated failures . ~hen reflects o;;the way this compulsion to sancti failure was an attempt to hide his own abject fear of what it might be. 7 The judgement involved1i1 naming something a success or a failure is symptomatic of the time and place, and contingent on the critical apparatus one uses to define it. 8
To achieve resolution is to achieve a masterpiece - a work, in the classic modernist formufation, where nothing can be improved, nothing added. 9 Yet this enterprise, in which the artist is creator of the 'perfect' artwork, is doomed to fail from the start. ZoIa's novel of 1886 followed from an earlier short story by Honore de Balzac, The Unknown Masterpiece 1831), which narrates a failure of belief, reputation and that very crux of artistic practice - the failure of the artist's realization to meet an intention.lO Balzac describes an ageing painter working tirelessly on a portrait of a past lover. The work is hidden from all until it will be complete and perfect. Ever dissatisfied, the artist meticulously strives to make his painting so realistic that it is indistinguishable from a living body. However, when revealed, the pursuit of perfection has undone the representation, leaving a 'wall of paint' with a single, perfect foot just visible amongst the mass of colour.
The master tries to justify the painting as an atmosphere rather than a depiction, but ultimately, in this era of representational painting, he believes it to be a failure, evidence of his lost mastery. Balzac's account is of the gaps between intention, expectation and realization.
John Baldessari advises his students: 'Art comes out of failure. You have to try things out. You can't sit around, terrified of being incorrect, saying 'I won't do anything until I do a masterpiece.'l1 In Baldessari's Wrong (1967-68 ) - a technically 'wrong' photographic composition, in which the artist stands in front of a palm tree so it appears to sprout from his head the aura of the compositionally 'right' image is disrupted so that - even though the new image perhaps replaces this merely with an alternative aesthetic - with the break in representative conventions, a pleasure in failure is introduced.12 Who has the right to claim the wrongness of an image? What does it matter if a tree sprouts out of a head? This is a turning away from the authority of what is deemed to be right. Assumptions are where attention starts to waver· we can sometimes only
[ become truly attentive when something is indeed wrong.

14// INTRODUCTlON

While speculative th ht strives for ever-deepening levels of understandinl in the search for content, iron asks questions, not to receive an answer but t< draw out of content and form yet more questions. The philosopher S0rer
Kierkegaard 's writings are suffused with paradox, choosing a series of endlessl1 unfurling contradictions over definitive truth. The ironist deals with the how; something being said rather than the what, paying a distanced attention to the surface of statements so as to identify gaps in knowledge and productiv( miscommunication. Where we embrace the irony of bad taste like the artis
Martin Kippenberger, deliberately turning away from technical skill, we distanc( ourselves from the assumed natural order of things.
Kippenberger always seemed to push too hard or the wrong way, resulting in; space of failure where he seemed more than happy to cast himself. His Metro-Ne project (1993-97), for example, set out to install a series of subway entrance~ around the world that would lead to nowhere. The first was built on the Greel island of Syros; another was designed as a mobile structure that was crushed or the occasion of its exhibition at Metro Pictures in New York, simply so it could fi through the doorP As Ann Goldstein has written, Kippenberger 'mastered the ac of fai ling not through his own incompetence, or even that of others, but througt
4
a savvy and strategic application of the oppositional and incongruous.'1 Indeed in the face of fai lure, is there any point in striving for success, when there can bf an immersive warmth in being simply pathetic, in not trying. As Ralph Rugof claimed in his landmark group show 'Just Pathetic' (Los Angeles and New York
1990), to turn away from ambition is a position: 'To be pathetic I stop being; loser, haplessly falling short of the idealized norm' seeking no place in history
5
turning instead to a desultory and indifferent claim on the present. 1
The second section, Idealism and Doubt, considers how in the field of art thes( polarities operate as productive engagements. If failure is endemic in the contexi of creative acts, this opens the question not whether something is a failure, bUi rather how that failure is harnessed. Indifference can offer a position of resistann akin to the attitude of Herman Melville's scribe in Bartleby, the Scrivener- A St01) of Wall Street (1853 ), analysed in different ways by Gilles Deleuze and Giorgic
Agamben. Melville'S narrator, an elderly lawyer, describes his encounter witt
Bartleby, a man who he chose to employ in his chambers on the basis of hi ~ apparent constancy, which he believed would even out the inconsistencies of hi ~ existing employees, one of whom was irascible in the morning, the other in th( afternoon, both moods adjusted by lunchtime drinking. However fast anc committed the scrivener is at his chores at the start of his employment, he ver~ quickly adopts a particular attitude of indifference, responding to questions anc requests with the simple phrase 'I would prefer not to' in~ an incessant assivE resistance to required and I2-rescribed behilldnu rs.

Le Feuvre/ /Strive to Fail/ / H

To take such a position is to be beyond redemption, to refuse either success of failure, a position Lotte M0ller discerns in the work of Annika Strom, and Jennifer
Higgie in the work of Matthew Brannon. As Leo Bersani and U\lyse Dutoit state in Arts of Impoverishment, their study of Beckett, Mark Rothko and Alain Resnais:
'Surely nothing can be more dangerous for an artist or for a critic than to be obsessed with failure. "Dangerous" because the obsession we are speaking of is not the coming anxiety about failing, but rather an anxiety about not failing.'16
Paradoxes are at the heart of all dealings with failure - it is a position to take, yet one that cannot be striven for ' it can be investigated, yet is too vague to be defined. It is related but not analogous to error, doubt and irony.
Idealism, with its travelling companion doubt, is driven by a misplaced belief in perfection - a concept setting an inaccurate route to what-might-have-been, to the past, and even to perfection itself. Is there a method more pertinent than perfection to the ways we understand our place in the world, and in which art can complicate what we think we know? Think of felix Gonzalez-Torres' Untitled
(Perfect Lovers) (1987-90), an identical pair of battery-operated wall clocks, placed side by side, which inevitably will fail to keep the same time. The
'perfection' here lies in the failure of accuracy' anything else would be romantic fiction. Like these out-of-sync clocks, human beings are all fallible; perhaps this is most explicitly revealed to us in the ways that we understand the past through memory and imagination. Here failure abounds. As Gonzalez-Torres demonstrated in much of his work, photographic, or indexical, recollection will never be the most truthful. In 1929 Walter Benjamin reflected on Marcel Proust's unravelling ' of perceptions through an engagement with the power of forgetting that is driven by an endless methodological dissatisfaction: Proust's typesetters record his constant changing of texts, not to correct mistakes but rather to introduce marginal notes, as if in a desperate attempt to remember everything.H It is near impossible to record every single thing and event in our lives - the task would be as overwhelming as in Borges' Funes the Memorious (1942).
The thinker Paul Ricoeur considered in detail the processes of memory and recollection, noting that perfect memory, like Gonzalez-Torres' Perfect Lovers, is replete with both error and perfection. Ricoeur describes memory as always being at the mercy of the powerful forces of distraction and influence from other experiences held in the mind. 'Pure' memory is simply the act of recollection; memory influenced by imagination is an engagement.18 This is demonstrated in
Renee Green's return to the site of Robert Smithson's work Partially Buried Woodshed
(1970): Green's Partially Buried in Three Parts (1996-99) directly addresses remembered and forgotten history. Her multipart installation interweaves interviews with local residents, activists, her family members and artists, about their imagined and actual memories of America in the 1970s. The charge in Green's

1611INTRODUCTION

work is in the power of the failure to remember and in the failure of the facts of events, specifically the anti-Vietnam protests at Kent State University, to be written into history. As with Gonzalez-foerster's recollections, the references build, to draw attention to the moments of forgetting and to the ways in which recollection is a process clouded by mistake, misrepresentation, failures of verisimilitude.
If perfection and idealism are satisfying, failure and doubt are engaging, driving us into the unknown. When divorced from a defeatist, disappointed " or unsuccessful position, failure can be shifted away from being merely a category of judgement. Section 3, Error and Incompetence, examines these two aspects of failure as positions that can be taken up positively. Julian Schnabel, for example, describes in this section his work as a 'bouquet of mistakes'19 Rather than producing a space of mediocrity, failure becomes intrinsic to creating open systems and raising searching questions: without the doubt that failure invites, any situation becomes closed and in danger of becoming dogmatic. Art-making can be characterized as an activity where doubt lies in wait at every turn and where failing is not always unacceptable conduct. As the artists Fischli and Weiss note of their video The Way Things Go (Der Lauf der Dinge, 1987), in which an assembly of mundane everyday objects and pieces of garbage perform a hilarious set of chain reactions: 'for us, while we were making the piece, it was funnier when it failed, when it didn't work. When it worked, that was more about satisfaction.'20 After all, if an artist were to make the perfect work there would be no need to make another. Emma Cocker describes in her text 'Over and Over.
Again and Again' that to try again is to repeat, to enter into a series of rehearsals
1
with no end point, no conclusions.2 Beckett's advice in Worstward Ho (1983) is to keep on trying, even if the hope of success is dashed again and again by failure:
'Ever tried. Ever failed . No matter. Try again. fail again. fail better.'22
These refusals to accept incompetence as an obstruction often employ repetitive strategies, just in case a single error was an aberration. In the work of artists such as Marcel Broodthaers, Bruce Nauman and Bas Jan Ader, Sisyphean tasks are driven by a performed disbelief in error as a negative. In an art context such repetition has the potential to pass through the threshold of tedium and even slip into slapstick. To set out to succeed at failing, or to fail at failing, is to step aside from the orthodox order. Slapstick, as described by Jorg Heiser in this section, fills narrative with illogical possibilities that evoke embarrassment and laughter. 23 Embarrassment is a natural response to failure: you want to disappear when it happens, when the world looks at you and judges you for your failing.
What though, if being embarrassed is not so bad after all? We all embarrass ourselves frequently, yet it is fear of the judgement of our failures that endures.
Chris Burden's practice acts out the simple question 'what happens if you . ?' making the risk of failure a space of opportunity as he pushes the limits of

Le FeuvrellStrive to Faill 1 17

possibilities and courts incompetence. Burden proposes questions that are manifested through actions and events, interrogating structures of power and assumptions, introducing doubt, and never fully eliminating the unknown. He offers a series of impossible proposals that are then acted out: integral to each is the possibility and frustration of failure. This can be seen most explicitly in When
Robots Rule: The Two Minute Airplane Factory that took the form of an assembly line manufacturing model airplanes to be launched into the cavernous space of
Tate Britain's Duveen Galleries in 1999. Although on paper the machine was capable of the task, in practice only a single plane made the flight, with visitors instead confronted with technicians carrying out tests and adjustments.
Technology has no intuition, reflexivity or ability to know if something 'looks right' yet the purpose of machines is to increase efficiency beyond the ability of the human hand. At Tate the apparent failure made the work all the more poignant; the. inability of the machine to replicate human endeavour became a poetic philosophy of failure. The once-success, though, raises the question 'what if it was tried again?' With an adjustment could countless model airplanes be manufactured in a day? He has observed that 'some of my favourite sculptures were the ones that were total disasters. You fantasize a way they are going to be, you try to do everything in your power, and then they are total flops . It's really interesting to examine how you could be so wrong.'24
Failure, by definition, takes us beyond assumptions and what we think we know and can be represented. Section 4, Experiment and Progress, examines failure'S potential for experimentation beyond what is known, while questioning the imperatives of progress. The act of testing takes on a different register when considered as a process rather than a result-oriented search for progress. When testing is an end in itself, non-completion, and therefore non-perfection, becomes a valid option. There is a pleasure in testing through failure. The artist Roman Signer, for example, courts failure just in case success unexpectedly turns up. If not, though, it really doesn't matter. His 'accident sculptures' ironically mimic experiments and their documentation. Paul RamireZ-Jonas addresses the hierarchies of failure through an exploration of the spaces between desire for progress and actual experience. 25 His video Ghost of Progress, 2002, is shot from a camera mounted on his bicycle handlebars as he traverses an unnamed city in the developing world. At the opposite end of the handlebars is a scale model of Concorde - once a symbol of optimistic progress, now a failed experiment. Utopian hopes and ultimate commercial realities embodied by Concorde are juxtaposed against a background of survival street commerce, new and old cars, public transport, noise, decaying historic and modern buildings, smog, dirt, and people going about their daily lives.
This speculative experimentation or testing is tied up with the modernist project, where the idea of the inventor (be it the artist, scientist, philosopher or

1811INTRODUCTION

explorer) is embedded in the desire for a progress-driven radical break understanding. When one's expectations are dashed there can be an opportunit for a new register of thinking. As Robert Smithson states in his conversation wit
Dennis Wheeler (1969-70), by isolating the failures one can 'investigate one incapabilities as well as one's capabilities' opening up possibilities forquestionin how structures and limits shape the world. 26
The philosopher of science Karl Popper popularized the process in logic k.Pow as falsifiability the probability that an assertion can be demonstrated as false t an experiment or observation. For example 'all people are immortal' is an easil falsifiable statement, demonstrated by the evidence of even one person havin died. For Popper, the essence of scientific experiment is the investigation of mOl complex falsifiable propositions, or hypotheses. What characterizes creati\ thinking within an experiment is the ability to 'break through the limits of tr range' that is to apply a critical mode of thinking rather than working with tt sets of assumptions at hand. In order to do so one must engage with failure an embrace the unanticipated. 27 In art, failure can also be a component of speculati\ experiment, which arrives at something unrecognizable as art according to tt current criteria of knowledge or judgement.
In this uncertain and beguiling space, between the two subjective polt of success and failure , where paradox rules, where transgressive activiti! can refuse dogma and surety, it is here, surely, that failure can be celebrate
Such facets of failure operate not only in the production but also equally the reception and distribution of artworks, inscribing certain practices in1 the histories of art. As we know, these histories are constantly testE and challenged and are themselves implicated in artists' roles as acti\ agents, seeking new forms of rupture, new delineations of space withi contemporary experience, in order to place something at stake within the reall of art. 28 The impossibility of language, as explored in Liam Gillick and Wi
Bradley's inclusions in this section, forces a stretching of this structure ' understanding beyond its limits, in order to pull on thought rather than word this opens moments of un-understanding which in time can be elucidating. I paraphrase the section from Wittgenstein's Tractatus Logico-Philosophicus th, closes this collection: often it is worth considering that the deepest failures al in fact not failures at all.

Samuel Beckett. from Three Dialogues with Geo rges Duthui t" transition , no.48 (1949 ); reprin t,

in Samuel Beckett, Proust & Three Dialogues with Georges Dut/1Uit (London: John Cald er, 196
119- 26.
2

See Daniel A. Siedell , 'Art a nd Failure' The}ournal of Aesthetic Education, vol. 40, no. 2 (Urban
Champaign: University of Illinois Press, Summer 2006 ) 105-17.

Le FeuvrellStrive to Fa ill I

3

See Bruce Altshuler, ed., Salon to Biennial: Exhibitions that Made Art History. Volume 1. 1863- 1959
(London and New York: Phaidon Press, 2009 ) 23-30.

4

Emile Zola, L'Oeuvre (Paris, 1886); trans. Ernest Vizetelly, His Masterpiece (New York: Macmillan,
1896); reissued as The Masterpiece (Oxford: Clarendon Press, 2008 ).

5

Di eter Roth, interview with Felicitas Thun (Basel, February 1998), in Dieter Roth: Gedrucktes

Gespresstes Gebundenes 1949-1979 (Cologne: Oktagon Verlag, 1998); reprinted in Flasl1 Art
International (May-June 2004) 104- 5.

23 J6rg Heiser, 'Pathos versus Ridiculousness: Art with Slapstick' in All of a Sudden (New York aI
Berlin: Sternberg Press, 2008).

24 Chri s Burden, interview with Jon Bewley (1990), in Talking Art, ed. Adrian Searle (Londo
Institute of Contemporary Arts, 1993 ) 26-7.

25 See Ines Katzenstein, 'A Leap Backwards into the Future' in Paul Ramirez jonas (Birminghar
Ikon Gallery, 2004) 108- 12; reprinted in this volume, 184.

26 Robert Smithson, from 'Interviews with Dennis Wheeler' (1969-70), section II, in RobertSmithso

See Clive Gillman's text on David Critchl ey in this volume, 42; and Daniel Birnbaum's text on

The Collected Writings, ed. Jack Flam (Berkeley and Los Angeles: University of California Pre!

Dominique Gonzalez-Foerster, 65.

6

1996) 208-9; reprinted in this volume, 171.

27 See Karl Popper, Endless Quest (London and New York: Routledge, 1992 ); and Bazan BrO(

7

See Paul Auster, Hand to Mouth: A Chronicle of Early Failures (London: Faber & Faber, 1997) 35-7.

8

See Tom Holert, 'Surviving Surveillance? Failure as Technology' Printed Project, no. 6

'Cheerful and Heroic Failure' in Harald Szeemann, ed., The Beauty of FailurejThe Failure of Beau

(Dublin, 2007 ).

(Barcelona: Fundaci6 Joan Mir6, 2004) 30-33.

9

See for example Russell Ferguson's citation of Virginia Woolf and Michael Fried, in Francis Aljis:

Politics of RehelJrsal (Los Angeles: Armand Hammer Museum of Art/G6ttingen: Steidl, 2007) 11.

28 See Jose ph Kosuth, 'Exemplar', in Felix Gonzalez-Torres (Los Angeles: The Muse um ofConte mpora
Art, 1994) 51-9; reprinted in thi s volume, 90.

10 Honore de Balzac, Le Chef d'oeuvre inconnu (Paris, 1831 ); trans. Richard Howard, The Unknown

Masterpiece (New York: New York Review of Books, 2001 ).
11

John Baldessa ri in Sarah Thornton, Seven Days in the Art World (New York: Norton, 2008 ) 52.

12 See Abiga il Solomon-Godeau, 'The Rightness of Wrong' in john Baldessari: National City (San
Diego: Museum of Contemporary Art/New York: DAP., 1986) 33-5; reprinted in this volume, 33.
13 See Marcus Verhagen, 'Trash Talking' Modern Painters (February 2006 ) 67-9; reprinted [retitled by the author as 'There's No Success Like Failure" Martin Kippenberger] in this volume, 43.
14 Ann Goldstein, 'The Problem Perspective' in Ann Goldstein, ed., Martin Kippenberger' Th e Problem

Perspective (Los Angeles: The Museum of Contemporary Art, 2008 ) 39-44.
15 Ralph Rugoff, from catalogue essay for 'Just Pathetic' (Los Angeles: Rosamund Felsen Gallery/
New York: American Fine Arts, 1990), cited in Michael Wilson, 'Just Pathetic' Artforum (October
2004).
16 Leo Bersani and Ulysse Dutoit, Arts of Impoverishm ent: Beckett, Rothko, Resnais (Cambridge,
Massachusetts: Harvard University Press, 1993 ) 1-9.
17 Walter Benjamin, 'The Image of Proust' (1929), in Walter Benjamin, illuminations, ed. Hannah
Arendt(New York: Schocken Books, 1968 ) 201-16.
18 See Paul Ricoeur, La Memoire, I'histoire, I'oubli (Paris: Editions du Seuil, 2000 ); trans. Kathleen
Blamey and David Pellauer, Memory, History, Forgetting (Chicago: University of Chicago Press,
2004)7-10.
19 Julian Schnabel, Statements (1978 ) in Theories and Documents of Contemporary Art (Berkley:
University of California Press, 1996) 266.
20

Peter Fischli, David Weiss and J6rg Heiser, 'The Odd Couple: An Interview with Peter Fischli and
David Weiss'.Jrieze, no. 102 (October 2006 ) 202-5.

21

See Emma Cocker's essay in this volume, 154.

22 Samuel Beckett, Worstward Ho (London: John Calder, 1984); see also Brian Dillon, 'Eternal
Return'.Jrieze, no. 77 (September 2003) 76- 7' reprinted in thi s volume, 122.

20//INTRODUCTION

Le Feuvre//Strive to Fail//,