Exploring personal discomforts and fears initiated by the earthquake experience,I conducted a series of workshops in Zagreb’s libraries. Workshop participants are invited to engrave or print their feelings on objects from their flats that have fallen and been damaged in the earthquake, making the everyday object not only a direct conduit of emotion, a place of rebellion or frustration but also a point in communication, the intersection of different narratives. These objects, collected through several months of artistic action, have become a kind of anti-souvenirs that recorded a common experience, becoming a well-known place and point of recognition of the community of citizens affected by the earthquake. I exhibit them in a glass case, which on the one hand musealizes them, and on the other contrary to the exhibition rules, pushes, twists, stacks broken plates and jugs, building a space of tension between the value and worthlessness of things, artifacts and everyday objects. On some of them, the owners have written a critique of inert city and state structures. In this twisting of the inner outwards, the intimate feeling turns into a collective and, indirectly, a dedication to the city; “wounded city”, writes one of the participants in the workshops. I’m using the scaffolding on the front of the Gallery building, which, precisely because of the slow and long construction work, this time related to the energy renovation of the building, is out of its function. The third segment of the work was my performance at the opening. I’m writing the names of the streets damaged in the earthquake on the construction helmet, and visitors are helping me. The helmet – the index of damaged locations – is invested in the display case among other items.