Entering an installation by Anna-Karin Rasmusson is like attending a healing ceremony for a broken present tense. Here, large pieces of cardboard offhandedly duck-taped onto floors and walls become a soft architecture for proto-domestic leisure. Drowned in red paint, or rather, in projections where paint flows, the packaging remains dry. From one projection to another flounder characters, often performed by Rasmussen herself, dressed in loose fitting full-body suits made of an off-white textile, which, much like the installation, is on the verge of disintegration. But it holds, despite the struggling character’s insistent adjustments to its surrounds. The thin line between empathy and domination melts into a blurred relation of being and owning––confusing the contours of both character and space.