Terence Koh's exhibition at the Secession circles around the topoi youth, sleep and death. In his installation in the Grafisches Kabinett the artist set out to create a space, in which he could spend the rest of his life. The title of the exhibition gone, yet still is a clip from a kind of jisei, "gone, yet still/ I lie in bed/ watching the stars". A jisei is a traditional Japanese farewell poem composed by Zen monks or samurai shortly before they die. Written on thin paper it wafts and greets the visitors in the stairway leading up to the Grafisches Kabinett. It establishes a passage to a place of quiet, void, exile and retreat until death. The staircase, the exhibition space upstairs and all the objects in it are completely white. The white color bathes the room in a milky light and simultaneously acts as the harbinger of transcendence.