Specifically, the space of the Bačva Gallery is divided by the authors into 3 sections - "Slices", resembling circular graphs, with a scaffold, a physical aluminum construction, placed in the center. The scaffold evokes the Babylonian Tower of "schizophrenic" understanding and misunderstanding, while also serving as the framework for joining and inevitable intertwining, mutual introspections, projections, and interventions onto the space and walls of the tube. ... As the project is conceived as a site-specific experiment and research process, it is not possible to predict the final form of what is presented. This project explores the development, process, and shaping of the "indescribable" and thoughtless beforehand, suggesting to the observer a kind of laboratory, approaching the idea of an artistic studio. It is a kind of L'art pour L'art that allows growth and shaping from the sheer pleasure of creation. It explores unexplored and non-arbitrary aspects of artistic processes and creative methods. The uniqueness of the project lies in the exploration of the collaboration of three artists who together build their undefined L'art pour L'art, equally as individuals as they base it on mutual interaction. The multimedia installation the collective builds from mixed elements of video, photography, classical painting, objects, sound, ready-made objects. There is no classical understanding, problematization, or elaboration of the theme here. The project deals with the phenomenon of the production process and as such "opens up the artist". According to the authors, the project is actually of a nepotistic nature, not engaged or programmed, but, on the contrary, plays with schizoid overlaps of sustainable identities. "The important thing is the mutual relationships and balances of centripetal and centrifugal forces that maintain our friendly, interpersonal, and creative communication, and in this case, through the Bačva Gallery, spatial connection! The architecture of the dynamics of communication sustainability experiences its subtle tension here," the artists state. The starting points that are nevertheless the backbone for the creation process are the question of multiplicity in Friščić's case, the question of input in Mezak's case, and the question of "Polluted interiors" in Rogić's case. The project is conceived as a space for creative communication, with recordings of new materials, performances, actions, and photo sessions planned.