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In his seminal essay “The Work of Art in the Age of Automatic Reproducibility"("Das Kunstwerk im Zeitalter seiner technischen Reproduzierbarkeit", 1935/39), Walter Benjamin put forward the thesis that the work of art loses its aura due to the reproducibility. In the past, artists like Giorgio de Chirico or Andy Warhol have explored this thesis, be it with counterfeit versions of their own works or with multiple reproduction of a work (Andy Warhol’s “Thirty Are Better Than One"). Il N’ya Pas De Crocodiles À Codody takes up this discussion by questioning the very concept of an aura. Does a work of art have an aura at all and why should copies not have it? To whom do we owe the aura term? Is it the work of art, the artist or, indeed, the recipient, who by his perception creates a subjective aura? Ultimately there are (no) crocodiles in Codody.[txt from ]