The Belgian artist Kris Martin addresses through his work the thought that life can only be recognized at the edge of death. One of his best-known pieces is Mandi III (2003), which was included in the 3rd Berlin Biennale. It is a black train station departure board that flips at random but displays no characters or numbers, thus putting the viewer's daily transits into a broader perspective by indicating that there is, in the end, only one destination.

My Days Are Counted (2005), a tally of all the days that have passed from the artist's birth until today. The list is actively maintained on the gallery wall, creating visual evidence of the artist's existence and its overlap with our own lives. Martin's work often draws attention to temporality and, in the centuries-long tradition of the memento mori, provokes viewers to remember death's inevitability. Rather than being ominous or morbid, however, it reflects the fragility of life with poignant simplicity. Still Alive (2005), a silver-plated bronze skull with dimensions exactly matching those of the artist's skull, simulates the experience of standing outside one's own body after death.