Miriam Gossing (b. 1988) and Lina Sieckmann (b. 1988) began working together as a duo while studying at the Kunsthochschule für Medien in Cologne. Their thesis film, Ocean Hill Drive, was nominated for the renowned Förderpreis für Filmkunst of the Nationalgalerie Berlin—Hamburger Bahnhof.

The film essays of Gossing/Sieckmann have a mysterious and often uncanny effect that results from subtly playing with the viewers’ perception and viewing habits. Like the works of the American artist Erik Levine (b. 1960), they refer to social realities which are presented in an experimental form. Whereas Levine focuses on situations from everyday life and processes documentary material recorded live, Gossing/Sieckmann also employ the means of mise-en-scène and collage. Both artistic positions combine emphasis on the significance of accessibility, whereby the gaze is focused on the magical, the beautiful, and the often-overlooked, on the side venues of life.