In 1969, The Beatles sang “Get back to where you once belonged” on a rooftop, as if mourning the passing of their heyday. That moment became myth.

In 1994, a still relatively unknown Oasis declared “I’m free to be whatever,” sending audiences into a frenzy—as if rock’n’roll meant moving forward without fearing change.

In Japanese Noh theatre, Okina embodies the sacred, its meaning unwavering, while Ko-omote is ambiguous, its meaning shifting with the viewer.

This work brings together two masks that never share a play, echoing the relationship between what becomes mythologised in rock culture and what is continually reinterpreted, alongside the shift from the 1960s to the 1990s.

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