The performance questions the role of preservation, protection and recollection through a random theatrical archive space. The play is set in a museum depot or in a place where objects, that are otherwise temporarily removed or taken away from view, are stored and preserved. The entry into the environment of fine art inside the scheme of a theatrical space is created with words: Can I ask a question? Yes, of course. On another level, the entries are immediate - either as the opening of a SPACE, the unveiling of artefacts (objects covered with a theatre curtainwhich rises), or through invisible, sublime doors, when a performer enters a new EVENT as a guard.

At first the theatrical is created by the dialogue between two guards; and later on, the theatrical stems from fine art, as perceived by the audience. The relationship between the guards is the relation between movement (moving pictures, dancing) and inactiveness (the guard stands as a statue, an oil painting in contrast to a photograph). An enormous grey mouse slides across dusty floors, it cares (Lat. cura) for all the covered objects in the museum, it is constantly checking whether life is present. The other guard sleeps in an armchair, it is covered so that it can later jump into the space of movement like a watch spring in the lit-up labyrinth of the theatrical. The objects travel together with the protagonists, from memory to the archiving and opening of the memory. The performance changes into exhibition and vice versa. The paradox of the theatrical meeting fine art is in a mutual relation between the two perceptions. The conclusion consists of a conversation with the audience who enter the space between the performance.