Tallerås’s contribution to the Sculpture Triennial builds on earlier works that explore the relationship between photographic and sculptural expressions. The concrete plinths hint at the buildings and infrastructure pictured in his photos, and give a sense of structure and tactility to their otherwise smooth surface. The frames are made of formwork sheets (birch-veneer plywood with a layer of brown phenolic film), and put one in mind of construction sites and architecture more than do conventional frames. The photographs depict surfaces and structures in the Carl Berner, Enjsø and Hovinbyen neighbourhoods, focusing on details and panoramic views of the architecture in the area. This part of Oslo has undergone massive development since Tallerås moved his studio here in 2011, and only a few of the building from the 1950s and ‘60s remain. The artwork is based primarily on demolition-ready and endangered buildings, and it archives aspects of the disappearing architecture. The buildings being razed today would perhaps, at some time in the future, have been protected as heritage-listed structures. The work as a whole is a further elaboration of Tallerås’s interest in archaeology and cultural heritage, but it also thematises the changes we see in the city and their underpinning ideological interests.