A collection of sculptural creations references Roberto Rossellini's neorealist film Germany, Year Zero (1948), in which a young boy walks amidst the rubble of a destroyed Berlin; as his peers play, the destruction catalyses a certain novel playful reality. Similarly, Paiva navigated the site of a destroyed supermarket in Victoriastadt, Lichtenberg, collecting - upon passing - various fragments, which he then systematically changed, using paint, a drill or a grinder: those very tools that the original construction workers used. Lying at feet level, interrupting or indeed defining viewers' paths, they present a failed attempt at trying to construct a wall, whilst also standing as a series of bids at inserting them back in their original site. Ultimately, this new series - altered fragments of an originally utilitarian composition - is returned to their original site.