“Still Life – A Journey to Things” from 1984 may seem out of place at first glance. The clocks can tick differently, without the pounding of political slogans or service to the future. Helke Misselwitz ventures into the apparent invulnerability of a power-protected interiority, which can still serve as a commentary on the essence of the present. She focuses on timeless art-historical image studies, filming Vanitas representations and Trompe-l’oeil motifs. The calm contemplation of paintings by Baroque masters and the classical modern era is related to wintry landscapes of today and views of dreary cities. This quiet manner is also a commentary.