A total of 27 oval paintings of various sizes, framed in fabric and metal applications with or without wooden bumpers, the installation hovers somewhere between an ancestral gallery, an achievement wall and a 45-metre-long cloakroom in the entrance area of the university. The pictures appear as prizes and badges, as quasi-religious furnishings, as passive instruments of torture for the children's room in the interior look of the noughties. The years of the gradual death of the promise of an ever-improving future. Each motif in itself a fragment of idealising image production between pop and folklore. Each motif in itself a small or large lie, a splinter of the infinite number of small and large cruelties of acculturation processes and mutual expectations in social reproduction against the backdrop of the lack of prospects of late capitalism named the "polycrisis".
“Learning, to be grateful”, 2024
